window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10749550": {
"type": "attachments",
"id": "arts_10749550",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10749550",
"found": true
},
"parent": 10749547,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/testamentyouthCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433960505,
"modified": 1433960532,
"caption": "Kit Harington and Alicia Vikander in \u003cem>Testament Of Youth\u003c/em>. (Courtesy of Laurie Sparham/Sony Picture Classics)",
"description": null,
"title": "testamentyouthCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10752731": {
"type": "attachments",
"id": "arts_10752731",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10752731",
"found": true
},
"parent": 10656919,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Dark-movies-for-summer-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434045232,
"modified": 1434045261,
"caption": "Movie stills compiled by Kevin L. Jones",
"description": "Movie stills compiled by Kevin L. Jones",
"title": "Dark movies for summer",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10752448": {
"type": "attachments",
"id": "arts_10752448",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10752448",
"found": true
},
"parent": 10752447,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-960x616.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 616
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-1180x757.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 757
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-1180x757.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 757
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434037981,
"modified": 1434038159,
"caption": "British actor Sir Christopher Lee in London in 2010. (Photo by Joel Ryan/AP)",
"description": "British actor Sir Christopher Lee in London in 2010.",
"title": "British actor Sir Christopher Lee in London in 2010.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10743037": {
"type": "attachments",
"id": "arts_10743037",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10743037",
"found": true
},
"parent": 10729912,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover.jpg",
"width": 1091,
"height": 613
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/KoonsCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433793140,
"modified": 1433793183,
"caption": "Still from \u003ci>Jeff, Embrace Your Past\u003c/i>. (Photo courtesy SF DocFest)",
"description": null,
"title": "KoonsCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10797535": {
"type": "attachments",
"id": "arts_10797535",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10797535",
"found": true
},
"parent": 10797534,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/10797534-thumb.jpg",
"width": 200,
"height": 113
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/10797534-thumb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/10797534-thumb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/10797534-thumb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/10797534-thumb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/10797534-thumb-128x113.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 113
}
},
"publishDate": 1435184816,
"modified": 1435184816,
"caption": null,
"description": null,
"title": "Thumbnail for 10797534",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10730066": {
"type": "attachments",
"id": "arts_10730066",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10730066",
"found": true
},
"parent": 10729305,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover.jpg",
"width": 1375,
"height": 773
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/RejectedCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433454748,
"modified": 1433454776,
"caption": "Still from title sequence of \u003ci>The Rejected\u003c/i>, 1961.",
"description": null,
"title": "RejectedCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10731212": {
"type": "attachments",
"id": "arts_10731212",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10731212",
"found": true
},
"parent": 10731209,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/WilsonCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433481576,
"modified": 1433481603,
"caption": "Paul Dano plays a young Brian Wilson in \u003cem>Love and Mercy\u003c/em>. (Courtesy of Francois Duhamel/Roadside Attractions)",
"description": null,
"title": "loveandmercy091431647888",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10716564": {
"type": "attachments",
"id": "arts_10716564",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10716564",
"found": true
},
"parent": 10705633,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/June5Cover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433117186,
"modified": 1433117287,
"caption": "Robert Helpmann and Ludmilla Tchérina in \u003ci>The Tales of Hoffmann\u003c/i>. (Courtesy of Rialto Pictures/Studiocanal)",
"description": null,
"title": "June5Cover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10705326": {
"type": "attachments",
"id": "arts_10705326",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10705326",
"found": true
},
"parent": 10705325,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432839319,
"modified": 1432839691,
"caption": "Casey (Britt Robertson) experiences a fantastic futuristic world in \u003cem>Tomorrowland\u003c/em>. (Courtesy of Disney)",
"description": null,
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10698142": {
"type": "attachments",
"id": "arts_10698142",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10698142",
"found": true
},
"parent": 10694861,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/BerkleeCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432660613,
"modified": 1432662746,
"caption": "The Berklee Silent Film Orchestra performing their score to Sergei Eisenstein's \u003ci>Battleship Potemkin\u003c/i>\nat the John F. Kennedy Center for the Performing Arts. (Photo by Henry Hayes)\n",
"description": null,
"title": "BerkleeCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10681822": {
"type": "attachments",
"id": "arts_10681822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10681822",
"found": true
},
"parent": 10681817,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432250882,
"modified": 1432250923,
"caption": "Jennifer Connelly as Nana in \u003cem>Aloft\u003c/em>. (Courtesy of Jose Haro/Sony Pictures Classics)",
"description": null,
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10671469": {
"type": "attachments",
"id": "arts_10671469",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10671469",
"found": true
},
"parent": 10656457,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES.jpg",
"width": 1440,
"height": 810
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TLOS_GLASSES-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1431991087,
"modified": 1431991111,
"caption": "A scene from Joshua Oppenheimer’s documentary The Look of Silence. (Courtesy of Drafthouse Films and Participant Media.)",
"description": "A scene from Joshua Oppenheimer’s documentary The Look of Silence. (Courtesy of Drafthouse Films and Participant Media.)",
"title": "TLOS_GLASSES",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"128436": {
"type": "authors",
"id": "128436",
"meta": {
"override": true
},
"slug": "128436",
"name": "Jon Brooks",
"firstName": "Jon",
"lastName": "Brooks",
"bio": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
"email": "jbrooks@kqed.org",
"isLoading": false
},
"byline_arts_10749547": {
"type": "authors",
"id": "byline_arts_10749547",
"meta": {
"override": true
},
"slug": "byline_arts_10749547",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_10752447": {
"type": "authors",
"id": "byline_arts_10752447",
"meta": {
"override": true
},
"slug": "byline_arts_10752447",
"name": "Eyder Peralta",
"isLoading": false
},
"byline_arts_10731209": {
"type": "authors",
"id": "byline_arts_10731209",
"meta": {
"override": true
},
"slug": "byline_arts_10731209",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_10705325": {
"type": "authors",
"id": "byline_arts_10705325",
"meta": {
"override": true
},
"slug": "byline_arts_10705325",
"name": "David Edelstein",
"isLoading": false
},
"byline_arts_10681817": {
"type": "authors",
"id": "byline_arts_10681817",
"meta": {
"override": true
},
"slug": "byline_arts_10681817",
"name": "Andrew Lapin",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"amorablanco": {
"type": "authors",
"id": "204",
"meta": {
"index": "authors_1716337520",
"id": "204",
"found": true
},
"name": "Aldo Mora-Blanco",
"firstName": null,
"lastName": null,
"slug": "amorablanco",
"email": "amorablanco@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/55dc4d0d17e55ef3a41035dc2fc224a3?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "about",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Aldo Mora-Blanco | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/55dc4d0d17e55ef3a41035dc2fc224a3?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55dc4d0d17e55ef3a41035dc2fc224a3?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/amorablanco"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557331
},
"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": 206
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 206
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_10749547": {
"type": "posts",
"id": "arts_10749547",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10749547",
"score": null,
"sort": [
1434121209000
]
},
"guestAuthors": [],
"slug": "a-strong-central-performance-elevates-a-pacifists-story",
"title": "A Strong Central Performance Elevates A Pacifist's Story",
"publishDate": 1434121209,
"format": "standard",
"headTitle": "A Strong Central Performance Elevates A Pacifist’s Story | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Vera Brittain, an upper-crust Englishwoman whose experiences as a nurse in World War I turned her into a pacifist, was known to my generation primarily as the mother of Shirley Williams, a similarly feisty and beloved Labour Cabinet member who still sits in the House of Lords. To my parents’ generation, Brittain was the beloved author of a best-selling 1933 memoir, \u003cem>Testament of Youth\u003c/em>, which laid out in devastating detail the cruel obliteration of a whole generation of British youth, to say nothing of Brittain’s own dreams of marriage to Roland Leighton, a budding writer and poet like herself.\u003c/p>\n\u003cp>Like the great poets of that war — Wilfred Owen, Siegfried Sassoon and Rupert Brooke, among others — Brittain came from privilege: She was the daughter of wealthy paper mill owners. But her memoir, published between the Wars in 1933, spoke to the masses in a less literary, more direct and personal voice that crossed England’s powerful class barrier. \u003cem>Testament of Youth\u003c/em>, which dealt with the loss of three crucial young men in Brittain’s life and her transformation from cosseted girl to ardent pacifist, was adapted into an excellent 1979 BBC TV series starring the great actress Cheryl Campbell (\u003cem>Pennies From Heaven\u003c/em>). There’s not much reason for a remake, and director James Kent, who has mostly worked in television, has brought the book to the big screen in a faithful but mostly pedestrian period piece.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VLiLInoOod0\u003c/p>\n\u003cp>Luckily, the film is pepped by a passionate turn from up-and-coming Swedish actress Alicia Vikander, last seen as a democratically inclined freshman Queen of Denmark in \u003cem>A Royal Affair\u003c/em>, and as the savvy Kitty in \u003cem>Anna Karenina\u003c/em>. Vikander looks like a dark-eyed Emily Blunt and carries herself with similar flash and fire. Her Vera may appear breakable, but she’s a sturdy rebel who doesn’t suffer fools gladly. We meet her in full brat mode in 1914, lobbying her unwilling father (an under-used Dominic West) and etiquette-obsessed mother (Emily Watson) to let her study at Oxford alongside her adored brother Edward (Taron Egerton), her sensitive fiancé Roland (Kit Harington), and their friend Victor (Colin Morgan), a good-hearted fellow who also pines for Vera.\u003c/p>\n\u003cp>The young men barely graze Oxford before signing up for what they believe will be a quick victory over the Hun. Disillusion sets in fast as they rot and worse in the stinking trenches of the Somme and other battlefields, rendered in rather crude shorthand that suggests a modest budget. As for Vera, she jettisons an elite education in favor of incrementally brutal stints as a nurse at home and abroad, where she has a formative experience nursing German prisoners.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The senseless futility of that first War, often eclipsed in popular culture by the more readily justified WWII, bears repeating. Predictably, perhaps (the movie’s producers also brought us the offensively gooey Holocaust drama \u003cem>The Boy in the Striped Pajamas\u003c/em>), \u003cem>Testament\u003c/em> is sentimental and lumbering, weighed down by a dawdling pace, clumsy flashbacks, drawing-room brocades by the yard, and a score that leans heavily on a soft piano and swelling strings. Blink, and you might miss a much-needed dose of acid from Miranda Richardson as Vera’s exasperated tutor at Oxford.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Vikander crisply holds the screen as a naive rebel transformed by unspeakable suffering into a mature, independent young woman who remains open to the possibility of a new love and a rebuilt England. Vera Brittain never became a literary star like her Oxford buddy Winifred Holtby (Alexandra Roach), who appears in the movie to guide her shattered friend back to spiritual health. Yet from her ringside seat Vera quickly grasped that beyond the loss of her own boys, all of England, rich and poor, had lost the flower of its youth. Stripped of illusions but never cynical, Vera willingly joined in the shaping of a nascent post-War democracy that would weaken the standing of her own class. She caught the moment, then rode the wave, and Britain loved her for it. Vikander makes us see why.\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new adaptation of Vera Brittain's memoir \u003cem>Testament Of Youth\u003c/em> isn't really necessary, but a strong turn from actress Alicia Vikander is a highlight.",
"status": "publish",
"parent": 0,
"modified": 1726705349,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 700
},
"headData": {
"title": "A Strong Central Performance Elevates A Pacifist's Story | KQED",
"description": "A new adaptation of Vera Brittain's memoir Testament Of Youth isn't really necessary, but a strong turn from actress Alicia Vikander is a highlight.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Strong Central Performance Elevates A Pacifist's Story",
"datePublished": "2015-06-12T08:00:09-07:00",
"dateModified": "2024-09-18T17:22:29-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Ella Taylor",
"nprStoryId": "411310849",
"nprApiLink": "http://api.npr.org/query?id=411310849&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/06/04/411310849/a-strong-central-performance-elevates-a-pacifists-story?ft=nprml&f=411310849",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 04 Jun 2015 17:01:00 -0400",
"nprStoryDate": "Thu, 04 Jun 2015 17:01:30 -0400",
"nprLastModifiedDate": "Thu, 04 Jun 2015 17:01:30 -0400",
"path": "/arts/10749547/a-strong-central-performance-elevates-a-pacifists-story",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vera Brittain, an upper-crust Englishwoman whose experiences as a nurse in World War I turned her into a pacifist, was known to my generation primarily as the mother of Shirley Williams, a similarly feisty and beloved Labour Cabinet member who still sits in the House of Lords. To my parents’ generation, Brittain was the beloved author of a best-selling 1933 memoir, \u003cem>Testament of Youth\u003c/em>, which laid out in devastating detail the cruel obliteration of a whole generation of British youth, to say nothing of Brittain’s own dreams of marriage to Roland Leighton, a budding writer and poet like herself.\u003c/p>\n\u003cp>Like the great poets of that war — Wilfred Owen, Siegfried Sassoon and Rupert Brooke, among others — Brittain came from privilege: She was the daughter of wealthy paper mill owners. But her memoir, published between the Wars in 1933, spoke to the masses in a less literary, more direct and personal voice that crossed England’s powerful class barrier. \u003cem>Testament of Youth\u003c/em>, which dealt with the loss of three crucial young men in Brittain’s life and her transformation from cosseted girl to ardent pacifist, was adapted into an excellent 1979 BBC TV series starring the great actress Cheryl Campbell (\u003cem>Pennies From Heaven\u003c/em>). There’s not much reason for a remake, and director James Kent, who has mostly worked in television, has brought the book to the big screen in a faithful but mostly pedestrian period piece.\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/VLiLInoOod0'\n title='//www.youtube.com/embed/VLiLInoOod0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Luckily, the film is pepped by a passionate turn from up-and-coming Swedish actress Alicia Vikander, last seen as a democratically inclined freshman Queen of Denmark in \u003cem>A Royal Affair\u003c/em>, and as the savvy Kitty in \u003cem>Anna Karenina\u003c/em>. Vikander looks like a dark-eyed Emily Blunt and carries herself with similar flash and fire. Her Vera may appear breakable, but she’s a sturdy rebel who doesn’t suffer fools gladly. We meet her in full brat mode in 1914, lobbying her unwilling father (an under-used Dominic West) and etiquette-obsessed mother (Emily Watson) to let her study at Oxford alongside her adored brother Edward (Taron Egerton), her sensitive fiancé Roland (Kit Harington), and their friend Victor (Colin Morgan), a good-hearted fellow who also pines for Vera.\u003c/p>\n\u003cp>The young men barely graze Oxford before signing up for what they believe will be a quick victory over the Hun. Disillusion sets in fast as they rot and worse in the stinking trenches of the Somme and other battlefields, rendered in rather crude shorthand that suggests a modest budget. As for Vera, she jettisons an elite education in favor of incrementally brutal stints as a nurse at home and abroad, where she has a formative experience nursing German prisoners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The senseless futility of that first War, often eclipsed in popular culture by the more readily justified WWII, bears repeating. Predictably, perhaps (the movie’s producers also brought us the offensively gooey Holocaust drama \u003cem>The Boy in the Striped Pajamas\u003c/em>), \u003cem>Testament\u003c/em> is sentimental and lumbering, weighed down by a dawdling pace, clumsy flashbacks, drawing-room brocades by the yard, and a score that leans heavily on a soft piano and swelling strings. Blink, and you might miss a much-needed dose of acid from Miranda Richardson as Vera’s exasperated tutor at Oxford.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Vikander crisply holds the screen as a naive rebel transformed by unspeakable suffering into a mature, independent young woman who remains open to the possibility of a new love and a rebuilt England. Vera Brittain never became a literary star like her Oxford buddy Winifred Holtby (Alexandra Roach), who appears in the movie to guide her shattered friend back to spiritual health. Yet from her ringside seat Vera quickly grasped that beyond the loss of her own boys, all of England, rich and poor, had lost the flower of its youth. Stripped of illusions but never cynical, Vera willingly joined in the shaping of a nascent post-War democracy that would weaken the standing of her own class. She caught the moment, then rode the wave, and Britain loved her for it. Vikander makes us see why.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10749547/a-strong-central-performance-elevates-a-pacifists-story",
"authors": [
"byline_arts_10749547"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10749550",
"label": "arts_137"
},
"arts_10656919": {
"type": "posts",
"id": "arts_10656919",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10656919",
"score": null,
"sort": [
1434049228000
]
},
"guestAuthors": [
{
"ID": "128436",
"displayName": "Jon Brooks",
"firstName": "Jon",
"lastName": "Brooks",
"userLogin": "jon-brooks",
"userEmail": "jbrooks@kqed.org",
"linkedAccount": "jbrooks",
"website": "",
"description": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
"userNicename": "jon-brooks",
"type": "guest-author",
"nickname": ""
}
],
"slug": "6-dark-films-you-probably-havent-seen-but-should-this-summer",
"title": "6 Dark Films You Probably Haven't Seen But Should This Summer",
"publishDate": 1434049228,
"format": "standard",
"headTitle": "6 Dark Films You Probably Haven’t Seen But Should This Summer | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>It’s summertime and that means the cineplex will be chock full of superheros and other \u003ca href=\"http://www.hollywoodreporter.com/news/summer-movies-2015-a-calendar-781601\" target=\"_blank\" rel=\"noopener\">big-budget fare\u003c/a>. But if you’re someone who prefers to while away the months avoiding the hype and exploring some lesser-known titles, here’s an eclectic list of gloomy, back-catalogue films that probably have escaped your notice, and can serve as the perfect antidote for those who like their fun-in-the sun on the dark side.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750551\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/what-happened-was-400x225.jpg\" alt=\"Karen Sillas and Tom Noonan in <i>What Happened Was...</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10750551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/what-happened-was-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/what-happened-was-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/what-happened-was.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karen Sillas and Tom Noonan in \u003ci>What Happened Was…\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>What Happened Was…\u003c/h3>\n\u003ch5>1994\u003c/h5>\n\u003cp>Last year was the 20th anniversary of the \u003ca href=\"http://ww2.kqed.org/arts/2014/11/10/celebrating-the-20th-anniversary-of-the-greatest-movie-no-one-has-seen/\" target=\"_blank\" rel=\"noopener\">greatest movie practically no one has seen\u003c/a>. When I mentioned to \u003cem>What Happened Was …\u003c/em> producer Ted Hope that I was fan of the film, his reaction was: “You \u003cem>saw\u003c/em> it?” Part of the picture’s obscurity has to do with the fact that it’s never been released on DVD, despite having won the Grand Jury Prize and the screenwriting award at Sundance, and writer/director/star Tom Noonan’s one man tour-de-force of moviemaking is one of the great lost films of contemporary cinema.\u003c/p>\n\u003cp>The film has only two characters and takes place over the course of a single first date, all within the New York City apartment of Jackie (Karen Sillas), a 30-something administrative assistant at a law firm. Her partner in awkwardness is Michael (played by Noonan), an older, morose paralegal. The scenario gives off a whiff of studio rom-com, suggesting a conventionally kooky, opposites-attract time.\u003c/p>\n\u003cp>But what gives the film its edge, besides the spellbinding performances, is the destructive way these two recognizable types from any pool of office workers try to navigate the commonplace occurrence of an embarrassing first date. Alternately hilarious and horrifying, their clumsy attempts at normative behavior slowly reveal the kind of trauma many people carry to work along with their microwavable lunches. Noonan avoids the staginess you might typically find in a two-hander set in an apartment by using the camera and inventive blocking to open up the space so that it drips with latent despair. Subliminal sound and visual design add to the mix. And though it’s not available on DVD, you can find it on \u003ca href=\"//www.amazon.com/What-Happened-Was-Tom-Noonan/dp/B006YMMAGA\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a> and \u003ca href=\"//itunes.apple.com/us/movie/what-happened-was.../id489789629\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750550\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/sweetSweetback2-400x300.jpg\" alt=\"<i>Sweet Sweetback's Baad Asssss Song</i>\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10750550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sweet Sweetback’s Baad Asssss Song\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sweet Sweetback’s Baad Asssss Song\u003c/h3>\n\u003ch5>1971\u003c/h5>\n\u003cp>Director Melvin Van Peebles said he made \u003cem>Sweet Sweetback’s Baadassss Song\u003c/em> because he didn’t care much for the way movies portrayed African Americans. When asked later by an interviewer to name some of the films he took issue with, he said, “About every damn thing that had a black person in it.”\u003c/p>\n\u003cp>His film tells the story of a black man on the run from police. It’s most explosive component: the depiction of overt racism and brutality by the LAPD, an issue that has plagued the department and the community it polices for decades. In a typical sequence, cops brutally beat a black man in bed with a white woman. One of them realizes the man is not who they’re looking for. “That’s not him,” he says. “So what?” says his partner.\u003c/p>\n\u003cp>While the independently-made \u003cem>Sweetback\u003c/em> is often credited with ushering in the “blaxploitation” genre, it has a much rawer quality than the Hollywood-made films that followed. And as far as style goes, you could call it impressionistic, off-the-wall… You could even call it a travesty. I’ve seen it four times and I still have a hard time figuring out what’s going on. Some audiences weaned on traditional film technique will find it utterly inaccessible, and you can’t always determine what is a piece of experimental brilliance and what is simply a mistake.\u003c/p>\n\u003cp>Yet, there is unmistakable greatness here, not the least of which is an all-time great jazz-funk score by newcomers Earth, Wind and Fire. This is an in-your-face look at institutional racism rarely seen at the movies. As we see Sweetback literally on the run, his flight becomes the central metaphor in a depiction of one man’s attempt to break free from violent racism. “No him, no me,” Dizzy Gillespie once said of Louis Armstrong. In the continuum of African American cinema, \u003cem>Sweet Sweetback’s Baad Asssss Song\u003c/em> is at the forefront.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750549\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/images-poster-400x225.jpg\" alt=\"<i>Images</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10750549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/images-poster-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/images-poster.jpg 780w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Susannah York in \u003ci>Images\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Images\u003c/h3>\n\u003ch5>1972\u003c/h5>\n\u003cp>The great American movie director Robert Altman is best known for his 1992 film \u003ci>The Player\u003c/i>, the 1970 box office smash \u003cem>M*A*S*H\u003c/em>, and a spate of 1970s critical successes like \u003ci>Nashville\u003c/i>. But one often overlooked Altman work of brilliance is \u003ci>Images\u003c/i>. This is one of those Altman films in which he ditches his ensemble cast, multiple storyline approach and embroiders a tight, focused piece about a housewife experiencing a psychotic break.\u003c/p>\n\u003cp>Without cliche or fuss, Altman puts us right inside the head of the lead character, played by Susannah York, depicting her break with reality in an almost understated way. The tension derives from the audience not knowing what she has mistaken for real and what has truly occurred. Is she having sex with her husband or her husband’s friend? Or is it her dead lover, in an incident she has only imagined?\u003c/p>\n\u003cp>The film tinkers with traditional film grammar to mimic the disorienting, dreamlike continuum of action and images in the degenerating reality experienced by a disordered mind. Along the way, Altman manages to score direct hits on male behavior, subtly linking York’s breakdown with the boorishness of her husband and aggressive sexual harassment by his friend. With its haunted Irish countryside, moody Vilmos Zsigmond cinematography, and echoing, clattering, blaring cacophony of a soundtrack, \u003ci>Images\u003c/i> has all the earmarks of a great horror film. Throw in the creepy voiceover of Susannah York reading a children’s story, and there will be chills.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/battle-royale--400x225.jpg\" alt=\"Chiaki Kuriyama in <i>Battle Royale</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10750548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale-.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chiaki Kuriyama in \u003ci>Battle Royale\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Battle Royale\u003c/h3>\n\u003ch5>2000\u003c/h5>\n\u003cp>A group of kids is sent to a deserted island to participate in an annual contest in which they are ordered to fight each other to the death, the last one standing winning the right to go home a hero. Sound familiar? While the basic concept describes \u003ci>The Hunger Games\u003c/i>, the scenario was first used in \u003ci>Battle Royale\u003c/i>, a 2000 Japanese movie based on a novel of the same name (later a manga series) and directed by Kinji Fukasaku. The film didn’t get a U..S. showing until a limited release in late 2011 and 2012.\u003c/p>\n\u003cp>\u003ci>The Hunger Games\u003c/i> movie franchise may have reaped a billion dollars, but \u003ci>Battle Royale\u003c/i> is a much more interesting work. Despite its grim conceit, the PG-13 violence in \u003cem>Hunger Games\u003c/em> is sanitized, while in \u003cem>Battle Royale,\u003c/em> all bets are off. When the captive class of junior-high age students is first told they have been chosen by lottery to participate in a contest to the death, one of the kids laughs at the preposterous notion. But when the contest facilitator casually pulls out the knife he has hurled into one girl’s forehead, pandemonium ensues — a chaos that mimics what’s occurring to your own sense of what’s acceptable in a movie. Like it or not, there is going to be no audience hand-holding here as this film means business.\u003c/p>\n\u003cp>What follows is a well-imagined story of how children might react given the circumstances. Some start killing each other immediately, others treat it as a problem to figure out, some go into denial, and two resist by committing suicide. Throughout, some of the kids can muster only a comical yet utterly realistic helplessness. (One boy asks a classmate with an ax stuck in his head, “You okay?”)\u003c/p>\n\u003cp>Some may find the whole thing inherently distasteful, but you have to marvel at the film’s audaciousness. There’s a deep commitment to the mayhem, and an extraordinary mingling of pubescent melodrama, and all its attendant tenderness of emotions, with breakneck action and vicious violence. It’s sort of like the last year of junior high — cliques, grudges, bullying, first-love — only with axes and machine guns. There’s a real poignancy that in the midst of the murderous turmoil, some kids still feel compelled to discuss who has a crush on who.\u003c/p>\n\u003cp>In 2009, Quentin Tarantino called \u003ci>Battle Royale\u003c/i> the best film since he started directing in 1992. He said, “If there is any movie that has been made since I’ve been making movies that I wish I had made, it’s that one.” (Tarantino would later use \u003ci>Battle Royale’s\u003c/i> Chiaki Kuriyama in his \u003ci>Kill Bill\u003c/i> series.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750547\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Superstar-KAren-CArpenter-400x233.png\" alt=\"<i>Superstar: The Karen Carpenter Story</i>\" width=\"400\" height=\"233\" class=\"size-thumbnail wp-image-10750547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Superstar-KAren-CArpenter-400x233.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Superstar-KAren-CArpenter.png 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Superstar: The Karen Carpenter Story\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superstar: The Karen Carpenter Story\u003c/h3>\n\u003ch5>1987\u003c/h5>\n\u003cp>Todd Haynes’ 44-minute film about Karen Carpenter’s losing battle with anorexia nervosa is an underground work in the truest sense. Haynes was unable to secure the rights to the Carpenters music he used throughout the film, and Richard Carpenter, the other half of the musical duo that made so many soft-pop hits in the 70s, threatened Haynes with legal action, citing copyright infringement. In the book \u003cem>Hollywood’s Copyright Wars: From Edison to the Internet\u003c/em>, author Peter Decherney writes, “Superstar is a very rare instance from the 1980s and 1990s in which a work of experimental film and video has been suppressed by copyright law, even by a simple cease and desist letter.”\u003c/p>\n\u003cp>Before the era of online video, the film was shown only at festivals, though you may have been able to get your hands on an Illegal DVD copy. Now, though, you are free to watch it on YouTube and other video sites.\u003c/p>\n\u003cp>The most prominent thing about Superstar is that the story is told using dolls, an inherently creepy cinematic strategy. One interpretation when watching their lifeless, frozen expressions married to dubbed dialogue is that Haynes is critiquing what he sees as suburban vapidity and the suppression of reality beneath a plastic form. As the duo’s anodyne music plays, Haynes mixes in images of the Vietnam War and Nixon, and he includes a music critic opining that the Carpenters “epitomized for me the return to reactionary values in the 70s. I never trusted them.”\u003c/p>\n\u003cp>A combination of lurid biopic, cinematic lark, and bold experiment, the film never comes across as merely campy and disrespectful. Highly watchable despite its experimental bent, Superstar leaves you with a genuine sense of tragedy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750546\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Wife-1995-400x278.jpg\" alt=\"Karen Young in <i>The Wife</i>\" width=\"400\" height=\"278\" class=\"size-thumbnail wp-image-10750546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karen Young in \u003ci>The Wife\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Wife\u003c/h3>\n\u003ch5>1995\u003c/h5>\n\u003cp>This is Tom Noonan’s follow-up to \u003cem>What Happened Was…\u003c/em> Just watch the fun begin as a mismatched couple drop by the house of a pair of married, New Age therapists, creating total emotional havoc. Noonan plays a shrink without boundaries, wielding extreme passive aggressiveness during the world’s most excruciating dinner. As in \u003cem>What Happened,\u003c/em> the writer/director excels at dramatizing states of barely warded-off despair, tapping into deep wellsprings of loneliness. Much of the drama lies in the reaction shots of the characters, ignoring or shooting knowing looks at one another other while someone else bloviates in absorbed monologue. As everyone get drunker, the stakes are upped, and despite the verbiage, the inability to connect is profound. While \u003ci>The Wife\u003c/i> has its share of self-indulgent directorial elements, the anguish depicted is almost Bergmanesque. \u003c/p>\n\u003cp>The film was nominated for a Grand Jury Prize at Sundance in 1995. But Noonan’s made only two films since. “It’s disappointing to me I haven’t done more,” he told me last year. “I did \u003cem>What Happened Was… \u003c/em> and \u003cem>The Wife\u003c/em>, and I thought I’ll be doing this for the next 30 years — I’ll be like Woody allen, I’ll make 50 movies.” Still, he’s not totally unappreciated. Cinema polemicist and Boston University film and American studies professor Ray Carney calls Noonan the “\u003ca href=\"http://people.bu.edu/rcarney/indievision/other.shtml\" target=\"_blank\" rel=\"noopener\">greatest living American director\u003c/a>.”\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Here's a list of far-from-hits for those who want something more intellectually stimulating than summer blockbusters and don't need to leave the house. ",
"status": "publish",
"parent": 0,
"modified": 1726702740,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 2092
},
"headData": {
"title": "6 Dark Films You Probably Haven't Seen But Should This Summer | KQED",
"description": "Here's a list of far-from-hits for those who want something more intellectually stimulating than summer blockbusters and don't need to leave the house. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "6 Dark Films You Probably Haven't Seen But Should This Summer",
"datePublished": "2015-06-11T12:00:28-07:00",
"dateModified": "2024-09-18T16:39:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10656919/6-dark-films-you-probably-havent-seen-but-should-this-summer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>It’s summertime and that means the cineplex will be chock full of superheros and other \u003ca href=\"http://www.hollywoodreporter.com/news/summer-movies-2015-a-calendar-781601\" target=\"_blank\" rel=\"noopener\">big-budget fare\u003c/a>. But if you’re someone who prefers to while away the months avoiding the hype and exploring some lesser-known titles, here’s an eclectic list of gloomy, back-catalogue films that probably have escaped your notice, and can serve as the perfect antidote for those who like their fun-in-the sun on the dark side.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750551\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/what-happened-was-400x225.jpg\" alt=\"Karen Sillas and Tom Noonan in <i>What Happened Was...</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10750551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/what-happened-was-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/what-happened-was-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/what-happened-was.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karen Sillas and Tom Noonan in \u003ci>What Happened Was…\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>What Happened Was…\u003c/h3>\n\u003ch5>1994\u003c/h5>\n\u003cp>Last year was the 20th anniversary of the \u003ca href=\"http://ww2.kqed.org/arts/2014/11/10/celebrating-the-20th-anniversary-of-the-greatest-movie-no-one-has-seen/\" target=\"_blank\" rel=\"noopener\">greatest movie practically no one has seen\u003c/a>. When I mentioned to \u003cem>What Happened Was …\u003c/em> producer Ted Hope that I was fan of the film, his reaction was: “You \u003cem>saw\u003c/em> it?” Part of the picture’s obscurity has to do with the fact that it’s never been released on DVD, despite having won the Grand Jury Prize and the screenwriting award at Sundance, and writer/director/star Tom Noonan’s one man tour-de-force of moviemaking is one of the great lost films of contemporary cinema.\u003c/p>\n\u003cp>The film has only two characters and takes place over the course of a single first date, all within the New York City apartment of Jackie (Karen Sillas), a 30-something administrative assistant at a law firm. Her partner in awkwardness is Michael (played by Noonan), an older, morose paralegal. The scenario gives off a whiff of studio rom-com, suggesting a conventionally kooky, opposites-attract time.\u003c/p>\n\u003cp>But what gives the film its edge, besides the spellbinding performances, is the destructive way these two recognizable types from any pool of office workers try to navigate the commonplace occurrence of an embarrassing first date. Alternately hilarious and horrifying, their clumsy attempts at normative behavior slowly reveal the kind of trauma many people carry to work along with their microwavable lunches. Noonan avoids the staginess you might typically find in a two-hander set in an apartment by using the camera and inventive blocking to open up the space so that it drips with latent despair. Subliminal sound and visual design add to the mix. And though it’s not available on DVD, you can find it on \u003ca href=\"//www.amazon.com/What-Happened-Was-Tom-Noonan/dp/B006YMMAGA\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a> and \u003ca href=\"//itunes.apple.com/us/movie/what-happened-was.../id489789629\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750550\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/sweetSweetback2-400x300.jpg\" alt=\"<i>Sweet Sweetback's Baad Asssss Song</i>\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10750550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sweetSweetback2.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sweet Sweetback’s Baad Asssss Song\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sweet Sweetback’s Baad Asssss Song\u003c/h3>\n\u003ch5>1971\u003c/h5>\n\u003cp>Director Melvin Van Peebles said he made \u003cem>Sweet Sweetback’s Baadassss Song\u003c/em> because he didn’t care much for the way movies portrayed African Americans. When asked later by an interviewer to name some of the films he took issue with, he said, “About every damn thing that had a black person in it.”\u003c/p>\n\u003cp>His film tells the story of a black man on the run from police. It’s most explosive component: the depiction of overt racism and brutality by the LAPD, an issue that has plagued the department and the community it polices for decades. In a typical sequence, cops brutally beat a black man in bed with a white woman. One of them realizes the man is not who they’re looking for. “That’s not him,” he says. “So what?” says his partner.\u003c/p>\n\u003cp>While the independently-made \u003cem>Sweetback\u003c/em> is often credited with ushering in the “blaxploitation” genre, it has a much rawer quality than the Hollywood-made films that followed. And as far as style goes, you could call it impressionistic, off-the-wall… You could even call it a travesty. I’ve seen it four times and I still have a hard time figuring out what’s going on. Some audiences weaned on traditional film technique will find it utterly inaccessible, and you can’t always determine what is a piece of experimental brilliance and what is simply a mistake.\u003c/p>\n\u003cp>Yet, there is unmistakable greatness here, not the least of which is an all-time great jazz-funk score by newcomers Earth, Wind and Fire. This is an in-your-face look at institutional racism rarely seen at the movies. As we see Sweetback literally on the run, his flight becomes the central metaphor in a depiction of one man’s attempt to break free from violent racism. “No him, no me,” Dizzy Gillespie once said of Louis Armstrong. In the continuum of African American cinema, \u003cem>Sweet Sweetback’s Baad Asssss Song\u003c/em> is at the forefront.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750549\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/images-poster-400x225.jpg\" alt=\"<i>Images</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10750549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/images-poster-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/images-poster.jpg 780w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Susannah York in \u003ci>Images\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Images\u003c/h3>\n\u003ch5>1972\u003c/h5>\n\u003cp>The great American movie director Robert Altman is best known for his 1992 film \u003ci>The Player\u003c/i>, the 1970 box office smash \u003cem>M*A*S*H\u003c/em>, and a spate of 1970s critical successes like \u003ci>Nashville\u003c/i>. But one often overlooked Altman work of brilliance is \u003ci>Images\u003c/i>. This is one of those Altman films in which he ditches his ensemble cast, multiple storyline approach and embroiders a tight, focused piece about a housewife experiencing a psychotic break.\u003c/p>\n\u003cp>Without cliche or fuss, Altman puts us right inside the head of the lead character, played by Susannah York, depicting her break with reality in an almost understated way. The tension derives from the audience not knowing what she has mistaken for real and what has truly occurred. Is she having sex with her husband or her husband’s friend? Or is it her dead lover, in an incident she has only imagined?\u003c/p>\n\u003cp>The film tinkers with traditional film grammar to mimic the disorienting, dreamlike continuum of action and images in the degenerating reality experienced by a disordered mind. Along the way, Altman manages to score direct hits on male behavior, subtly linking York’s breakdown with the boorishness of her husband and aggressive sexual harassment by his friend. With its haunted Irish countryside, moody Vilmos Zsigmond cinematography, and echoing, clattering, blaring cacophony of a soundtrack, \u003ci>Images\u003c/i> has all the earmarks of a great horror film. Throw in the creepy voiceover of Susannah York reading a children’s story, and there will be chills.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/battle-royale--400x225.jpg\" alt=\"Chiaki Kuriyama in <i>Battle Royale</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10750548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/battle-royale-.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chiaki Kuriyama in \u003ci>Battle Royale\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Battle Royale\u003c/h3>\n\u003ch5>2000\u003c/h5>\n\u003cp>A group of kids is sent to a deserted island to participate in an annual contest in which they are ordered to fight each other to the death, the last one standing winning the right to go home a hero. Sound familiar? While the basic concept describes \u003ci>The Hunger Games\u003c/i>, the scenario was first used in \u003ci>Battle Royale\u003c/i>, a 2000 Japanese movie based on a novel of the same name (later a manga series) and directed by Kinji Fukasaku. The film didn’t get a U..S. showing until a limited release in late 2011 and 2012.\u003c/p>\n\u003cp>\u003ci>The Hunger Games\u003c/i> movie franchise may have reaped a billion dollars, but \u003ci>Battle Royale\u003c/i> is a much more interesting work. Despite its grim conceit, the PG-13 violence in \u003cem>Hunger Games\u003c/em> is sanitized, while in \u003cem>Battle Royale,\u003c/em> all bets are off. When the captive class of junior-high age students is first told they have been chosen by lottery to participate in a contest to the death, one of the kids laughs at the preposterous notion. But when the contest facilitator casually pulls out the knife he has hurled into one girl’s forehead, pandemonium ensues — a chaos that mimics what’s occurring to your own sense of what’s acceptable in a movie. Like it or not, there is going to be no audience hand-holding here as this film means business.\u003c/p>\n\u003cp>What follows is a well-imagined story of how children might react given the circumstances. Some start killing each other immediately, others treat it as a problem to figure out, some go into denial, and two resist by committing suicide. Throughout, some of the kids can muster only a comical yet utterly realistic helplessness. (One boy asks a classmate with an ax stuck in his head, “You okay?”)\u003c/p>\n\u003cp>Some may find the whole thing inherently distasteful, but you have to marvel at the film’s audaciousness. There’s a deep commitment to the mayhem, and an extraordinary mingling of pubescent melodrama, and all its attendant tenderness of emotions, with breakneck action and vicious violence. It’s sort of like the last year of junior high — cliques, grudges, bullying, first-love — only with axes and machine guns. There’s a real poignancy that in the midst of the murderous turmoil, some kids still feel compelled to discuss who has a crush on who.\u003c/p>\n\u003cp>In 2009, Quentin Tarantino called \u003ci>Battle Royale\u003c/i> the best film since he started directing in 1992. He said, “If there is any movie that has been made since I’ve been making movies that I wish I had made, it’s that one.” (Tarantino would later use \u003ci>Battle Royale’s\u003c/i> Chiaki Kuriyama in his \u003ci>Kill Bill\u003c/i> series.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750547\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Superstar-KAren-CArpenter-400x233.png\" alt=\"<i>Superstar: The Karen Carpenter Story</i>\" width=\"400\" height=\"233\" class=\"size-thumbnail wp-image-10750547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Superstar-KAren-CArpenter-400x233.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Superstar-KAren-CArpenter.png 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Superstar: The Karen Carpenter Story\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superstar: The Karen Carpenter Story\u003c/h3>\n\u003ch5>1987\u003c/h5>\n\u003cp>Todd Haynes’ 44-minute film about Karen Carpenter’s losing battle with anorexia nervosa is an underground work in the truest sense. Haynes was unable to secure the rights to the Carpenters music he used throughout the film, and Richard Carpenter, the other half of the musical duo that made so many soft-pop hits in the 70s, threatened Haynes with legal action, citing copyright infringement. In the book \u003cem>Hollywood’s Copyright Wars: From Edison to the Internet\u003c/em>, author Peter Decherney writes, “Superstar is a very rare instance from the 1980s and 1990s in which a work of experimental film and video has been suppressed by copyright law, even by a simple cease and desist letter.”\u003c/p>\n\u003cp>Before the era of online video, the film was shown only at festivals, though you may have been able to get your hands on an Illegal DVD copy. Now, though, you are free to watch it on YouTube and other video sites.\u003c/p>\n\u003cp>The most prominent thing about Superstar is that the story is told using dolls, an inherently creepy cinematic strategy. One interpretation when watching their lifeless, frozen expressions married to dubbed dialogue is that Haynes is critiquing what he sees as suburban vapidity and the suppression of reality beneath a plastic form. As the duo’s anodyne music plays, Haynes mixes in images of the Vietnam War and Nixon, and he includes a music critic opining that the Carpenters “epitomized for me the return to reactionary values in the 70s. I never trusted them.”\u003c/p>\n\u003cp>A combination of lurid biopic, cinematic lark, and bold experiment, the film never comes across as merely campy and disrespectful. Highly watchable despite its experimental bent, Superstar leaves you with a genuine sense of tragedy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10750546\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Wife-1995-400x278.jpg\" alt=\"Karen Young in <i>The Wife</i>\" width=\"400\" height=\"278\" class=\"size-thumbnail wp-image-10750546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Wife-1995.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karen Young in \u003ci>The Wife\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Wife\u003c/h3>\n\u003ch5>1995\u003c/h5>\n\u003cp>This is Tom Noonan’s follow-up to \u003cem>What Happened Was…\u003c/em> Just watch the fun begin as a mismatched couple drop by the house of a pair of married, New Age therapists, creating total emotional havoc. Noonan plays a shrink without boundaries, wielding extreme passive aggressiveness during the world’s most excruciating dinner. As in \u003cem>What Happened,\u003c/em> the writer/director excels at dramatizing states of barely warded-off despair, tapping into deep wellsprings of loneliness. Much of the drama lies in the reaction shots of the characters, ignoring or shooting knowing looks at one another other while someone else bloviates in absorbed monologue. As everyone get drunker, the stakes are upped, and despite the verbiage, the inability to connect is profound. While \u003ci>The Wife\u003c/i> has its share of self-indulgent directorial elements, the anguish depicted is almost Bergmanesque. \u003c/p>\n\u003cp>The film was nominated for a Grand Jury Prize at Sundance in 1995. But Noonan’s made only two films since. “It’s disappointing to me I haven’t done more,” he told me last year. “I did \u003cem>What Happened Was… \u003c/em> and \u003cem>The Wife\u003c/em>, and I thought I’ll be doing this for the next 30 years — I’ll be like Woody allen, I’ll make 50 movies.” Still, he’s not totally unappreciated. Cinema polemicist and Boston University film and American studies professor Ray Carney calls Noonan the “\u003ca href=\"http://people.bu.edu/rcarney/indievision/other.shtml\" target=\"_blank\" rel=\"noopener\">greatest living American director\u003c/a>.”\n\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>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10656919/6-dark-films-you-probably-havent-seen-but-should-this-summer",
"authors": [
"128436"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10752731",
"label": "arts"
},
"arts_10752447": {
"type": "posts",
"id": "arts_10752447",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10752447",
"score": null,
"sort": [
1434038179000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1434038179,
"format": "standard",
"title": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies",
"headTitle": "Christopher Lee, Star in ‘Dracula,’ ‘Star Wars,’ Dies | KQED",
"content": "\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 385,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705046968,
"excerpt": "Lee's career was varied and vast: He made his name as Dracula for decades, but then went on to play roles in Hollywood blockbusters like \u003cem>Lord of the Rings\u003c/em>. Lee was 93 years old.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lee's career was varied and vast: He made his name as Dracula for decades, but then went on to play roles in Hollywood blockbusters like Lord of the Rings. Lee was 93 years old.",
"title": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies",
"datePublished": "2015-06-11T08:56:19-07:00",
"dateModified": "2024-01-12T00:09:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "christopher-lee-star-in-dracula-star-wars-dies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=413606321&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Eyder Peralta",
"nprStoryDate": "Thu, 11 Jun 2015 08:56:00 -0400",
"nprLastModifiedDate": "Thu, 11 Jun 2015 10:04:10 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/06/11/413606321/reports-christopher-lee-star-in-dracula-star-wars-dies?ft=nprml&f=413606321",
"nprStoryId": "413606321",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Jun 2015 10:04:00 -0400",
"path": "/arts/10752447/christopher-lee-star-in-dracula-star-wars-dies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\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>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10752447/christopher-lee-star-in-dracula-star-wars-dies",
"authors": [
"byline_arts_10752447"
],
"categories": [
"arts_74",
"arts_235"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10752448",
"label": "arts_137"
},
"arts_10729912": {
"type": "posts",
"id": "arts_10729912",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10729912",
"score": null,
"sort": [
1433876407000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1433876407,
"format": "standard",
"title": "Before He Was Picture Perfect, Early Jeff Koons at SF DocFest",
"headTitle": "Before He Was Picture Perfect, Early Jeff Koons at SF DocFest | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-doc-fest-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF DocFest\u003c/h2>\n\u003cdiv class=\"event-desc\">Blasting the notion of educational films to smithereens.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jun. 4-18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various San Francisco theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-doc-fest-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The idea that everything and everyone is a commodity, with a price tag, is scarcely an original insight. But it seems an inescapable fact of life in present-day America, where we are reminded that any meaningful act of spontaneous human behavior “inspires” a platoon of publicists, agents, image consultants and programming executives.\u003c/p>\n\u003cp>This is the world in which Jeff Koons lives and rules. The creative act is secondary to the marketing campaign; in fact, the former might as well not exist without the latter. Hide your light under a bushel? Ha. Design, art-direct and focus-group the bushel, flog the brand, license the logo — and then, and only then, give some thought to the lighting.\u003c/p>\n\u003cp>The San Francisco premiere of \u003cem>Jeff, Embrace Your Past\u003c/em> in \u003cstrong>SF DocFest\u003c/strong> (screening Jun. 13 and 17 at the Roxie) provides the occasion for this rumination, although as the record-holder for the highest price ever paid for an artwork by a living artist, Koons is perennially noteworthy. The film comprises 40 minutes of scenes that local filmmaker Roger Teich shot during the installation and opening of Koons’ 1992 San Francisco Museum of Modern Art retrospective, offering an intriguing portrait of a self-conscious enigma.\u003c/p>\n\u003cfigure id=\"attachment_10743319\" class=\"wp-caption alignright\" style=\"max-width: 393px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10743319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/113991981.jpg\" alt=\"Jeff Koons with Ilona Staller in front of a Koons floral sculpture, 1992. (Photo by Patrick PIEL/Gamma-Rapho via Getty Images)\" width=\"393\" height=\"594\">\u003cfigcaption class=\"wp-caption-text\">Jeff Koons with Ilona Staller in front of a Koons floral sculpture, 1992. (Photo by Patrick PIEL/Gamma-Rapho via Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>An observational work without a tangible critical perspective beyond bemusement, \u003cem>Jeff, Embrace Your Past\u003c/em> gives us sequences of a polite, clean-cut Koons focused on the precise positioning of his pieces, notably a set of vacuum cleaners enclosed in glass. We’re privy to several opening night activities, as well as Koons guiding his then-wife, porn star and Italian parliament member Ilona Staller, through the exhibit — and past his paintings of the couple in flagrante delicto.\u003c/p>\n\u003cp>“Roger approached it very much as a Koons skeptic at that time,” says longtime Bay Area film producer Henry Rosenthal, who was invited by Teich to collaborate on shaping and editing the original raw footage. “It was the outrageousness and notoriety of the subject that attracted him. This was the show where Koons transitioned from an art star to an art superstar. Roger had the foresight and interest to gain unprecedented access to Koons, to the museum, to the collectors, to the whole milieu surrounding him.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Koons supporters and detractors are certain to come away with different interpretations of \u003cem>Jeff, Embrace Your Past\u003c/em>. What is inarguable is that Koons, then 37, doesn’t quite have his shtick down; he’s still grappling with the proper mix of philosophical visionary, obsessive professional, boy genius, price-hiking celebrity and regular guy.\u003c/p>\n\u003cp>We’re left, above all, with a sense of distance, and of a man who makes a practice of cultivating distance. The most deadpan hilarious scene in the film is an interview with Koons’ father on opening night in the cramped men’s room as people enter and leave, the door repeatedly blocking our view.\u003c/p>\n\u003cp>It’s fair to assume that Koons, who was a willing participant in the filming in 1992, wishes the movie didn’t exist. Rosenthal says the curator of last year’s \u003ca href=\"http://whitney.org/Exhibitions/JeffKoons\" target=\"_blank\" rel=\"noopener\">Whitney Museum of American Art retrospective\u003c/a> wanted to show \u003cem>Jeff, Embrace Your Past\u003c/em>, but Koons vetoed it.\u003c/p>\n\u003cp>“His reluctance to include the film alongside his body of work is a testament to the kind of paranoia and obsessive control issues that come with extreme celebrity,” Rosenthal asserts. “He manicures his image and his press fastidiously, and this film shows the frayed edges.”\u003c/p>\n\u003cp>Rosenthal calls himself a Koons fan, by the way. “I see him as the spiritual descendant of Warhol.” Rosenthal says. “They both have art factories with minions producing their work… Koons markets himself relentlessly, as Warhol did and does to this day. It’s that the machine behind Koons is so much more sophisticated than the one behind Warhol when he was alive. They took all the lessons learned from Warhol and refined it into a global venture.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It took me a very long time to get and appreciate Warhol, and to reach the point now where I’m charmed, challenged, seduced and touched by a great deal of his work. So it’s conceivable I’ll discover insight and humanity in Jeff Koons. However, I might not hold my breath, and I’d caution you against holding yours.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 784,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705046981,
"excerpt": "Film record of a 1992 SFMOMA retrospective is a portrait of the artist as a callow, young perfectionist.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Film record of a 1992 SFMOMA retrospective is a portrait of the artist as a callow, young perfectionist.",
"title": "Before He Was Picture Perfect, Early Jeff Koons at SF DocFest | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Before He Was Picture Perfect, Early Jeff Koons at SF DocFest",
"datePublished": "2015-06-09T12:00:07-07:00",
"dateModified": "2024-01-12T00:09:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "before-he-was-picture-perfect-early-jeff-koons-at-sf-docfest",
"status": "publish",
"sticky": false,
"path": "/arts/10729912/before-he-was-picture-perfect-early-jeff-koons-at-sf-docfest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-doc-fest-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF DocFest\u003c/h2>\n\u003cdiv class=\"event-desc\">Blasting the notion of educational films to smithereens.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jun. 4-18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various San Francisco theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-doc-fest-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The idea that everything and everyone is a commodity, with a price tag, is scarcely an original insight. But it seems an inescapable fact of life in present-day America, where we are reminded that any meaningful act of spontaneous human behavior “inspires” a platoon of publicists, agents, image consultants and programming executives.\u003c/p>\n\u003cp>This is the world in which Jeff Koons lives and rules. The creative act is secondary to the marketing campaign; in fact, the former might as well not exist without the latter. Hide your light under a bushel? Ha. Design, art-direct and focus-group the bushel, flog the brand, license the logo — and then, and only then, give some thought to the lighting.\u003c/p>\n\u003cp>The San Francisco premiere of \u003cem>Jeff, Embrace Your Past\u003c/em> in \u003cstrong>SF DocFest\u003c/strong> (screening Jun. 13 and 17 at the Roxie) provides the occasion for this rumination, although as the record-holder for the highest price ever paid for an artwork by a living artist, Koons is perennially noteworthy. The film comprises 40 minutes of scenes that local filmmaker Roger Teich shot during the installation and opening of Koons’ 1992 San Francisco Museum of Modern Art retrospective, offering an intriguing portrait of a self-conscious enigma.\u003c/p>\n\u003cfigure id=\"attachment_10743319\" class=\"wp-caption alignright\" style=\"max-width: 393px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10743319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/113991981.jpg\" alt=\"Jeff Koons with Ilona Staller in front of a Koons floral sculpture, 1992. (Photo by Patrick PIEL/Gamma-Rapho via Getty Images)\" width=\"393\" height=\"594\">\u003cfigcaption class=\"wp-caption-text\">Jeff Koons with Ilona Staller in front of a Koons floral sculpture, 1992. (Photo by Patrick PIEL/Gamma-Rapho via Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>An observational work without a tangible critical perspective beyond bemusement, \u003cem>Jeff, Embrace Your Past\u003c/em> gives us sequences of a polite, clean-cut Koons focused on the precise positioning of his pieces, notably a set of vacuum cleaners enclosed in glass. We’re privy to several opening night activities, as well as Koons guiding his then-wife, porn star and Italian parliament member Ilona Staller, through the exhibit — and past his paintings of the couple in flagrante delicto.\u003c/p>\n\u003cp>“Roger approached it very much as a Koons skeptic at that time,” says longtime Bay Area film producer Henry Rosenthal, who was invited by Teich to collaborate on shaping and editing the original raw footage. “It was the outrageousness and notoriety of the subject that attracted him. This was the show where Koons transitioned from an art star to an art superstar. Roger had the foresight and interest to gain unprecedented access to Koons, to the museum, to the collectors, to the whole milieu surrounding 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>Koons supporters and detractors are certain to come away with different interpretations of \u003cem>Jeff, Embrace Your Past\u003c/em>. What is inarguable is that Koons, then 37, doesn’t quite have his shtick down; he’s still grappling with the proper mix of philosophical visionary, obsessive professional, boy genius, price-hiking celebrity and regular guy.\u003c/p>\n\u003cp>We’re left, above all, with a sense of distance, and of a man who makes a practice of cultivating distance. The most deadpan hilarious scene in the film is an interview with Koons’ father on opening night in the cramped men’s room as people enter and leave, the door repeatedly blocking our view.\u003c/p>\n\u003cp>It’s fair to assume that Koons, who was a willing participant in the filming in 1992, wishes the movie didn’t exist. Rosenthal says the curator of last year’s \u003ca href=\"http://whitney.org/Exhibitions/JeffKoons\" target=\"_blank\" rel=\"noopener\">Whitney Museum of American Art retrospective\u003c/a> wanted to show \u003cem>Jeff, Embrace Your Past\u003c/em>, but Koons vetoed it.\u003c/p>\n\u003cp>“His reluctance to include the film alongside his body of work is a testament to the kind of paranoia and obsessive control issues that come with extreme celebrity,” Rosenthal asserts. “He manicures his image and his press fastidiously, and this film shows the frayed edges.”\u003c/p>\n\u003cp>Rosenthal calls himself a Koons fan, by the way. “I see him as the spiritual descendant of Warhol.” Rosenthal says. “They both have art factories with minions producing their work… Koons markets himself relentlessly, as Warhol did and does to this day. It’s that the machine behind Koons is so much more sophisticated than the one behind Warhol when he was alive. They took all the lessons learned from Warhol and refined it into a global venture.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It took me a very long time to get and appreciate Warhol, and to reach the point now where I’m charmed, challenged, seduced and touched by a great deal of his work. So it’s conceivable I’ll discover insight and humanity in Jeff Koons. However, I might not hold my breath, and I’d caution you against holding yours.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10729912/before-he-was-picture-perfect-early-jeff-koons-at-sf-docfest",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10743037",
"label": "arts"
},
"arts_10797534": {
"type": "posts",
"id": "arts_10797534",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10797534",
"score": null,
"sort": [
1433842670000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1433842670,
"format": "standard",
"title": "Film School Shorts Interviews Student Filmmakers at SF Docfest!",
"headTitle": "Film School Shorts Interviews Student Filmmakers at SF Docfest! | KQED",
"content": "\u003ch3>\u003cstrong>The film festival that provides a manageable amount of the truth.\u003c/strong>\u003c/h3>\n\u003cp>Since 1998, the \u003ca target=\"_blank\" href=\"http://sfindie.com/festivals/sf-docfest/\" rel=\"noopener\">SF Independent Documentary Film Festival \u003c/a>(SF Docfest for short) has brought independent cinema from around the world to the Bay Area, and this year’s festival brings Bay Area student filmmakers front and center! Read our \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/09/film-school-shorts-interviews-student-filmmakers-at-sf-docfest/?utm_source=rss&utm_medium=rss&utm_campaign=film-school-shorts-interviews-student-filmmakers-at-sf-docfest\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/09/film-school-shorts-interviews-student-filmmakers-at-sf-docfest/?utm_source=rss&utm_medium=rss&utm_campaign=film-school-shorts-interviews-student-filmmakers-at-sf-docfest\" target=\"_blank\" title=\"Film School Shorts Interviews Student Filmmakers at SF Docfest!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 61,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705046985,
"excerpt": "\u003ch3>\u003cstrong>The film festival that provides a manageable amount of the truth.\u003c/strong>\u003c/h3>\n\u003cp>Since 1998, the \u003ca target=\"_blank\" href=\"http://sfindie.com/festivals/sf-docfest/\" rel=\"noopener\">SF Independent Documentary Film Festival \u003c/a>(SF Docfest for short) has brought independent cinema from around the world to the Bay Area, and this year's festival brings Bay Area student filmmakers front and center! Read our \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/09/film-school-shorts-interviews-student-filmmakers-at-sf-docfest/?utm_source=rss&utm_medium=rss&utm_campaign=film-school-shorts-interviews-student-filmmakers-at-sf-docfest\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The film festival that provides a manageable amount of the truth.\nSince 1998, the SF Independent Documentary Film Festival (SF Docfest for short) has brought independent cinema from around the world to the Bay Area, and this year's festival brings Bay Area student filmmakers front and center! Read our ...read more",
"title": "Film School Shorts Interviews Student Filmmakers at SF Docfest! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Film School Shorts Interviews Student Filmmakers at SF Docfest!",
"datePublished": "2015-06-09T02:37:50-07:00",
"dateModified": "2024-01-12T00:09:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "film-school-shorts-interviews-student-filmmakers-at-sf-docfest",
"status": "publish",
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2015/06/09/film-school-shorts-interviews-student-filmmakers-at-sf-docfest/?utm_source=rss&utm_medium=rss&utm_campaign=film-school-shorts-interviews-student-filmmakers-at-sf-docfest",
"sticky": false,
"path": "/arts/10797534/film-school-shorts-interviews-student-filmmakers-at-sf-docfest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>\u003cstrong>The film festival that provides a manageable amount of the truth.\u003c/strong>\u003c/h3>\n\u003cp>Since 1998, the \u003ca target=\"_blank\" href=\"http://sfindie.com/festivals/sf-docfest/\" rel=\"noopener\">SF Independent Documentary Film Festival \u003c/a>(SF Docfest for short) has brought independent cinema from around the world to the Bay Area, and this year’s festival brings Bay Area student filmmakers front and center! Read our \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/09/film-school-shorts-interviews-student-filmmakers-at-sf-docfest/?utm_source=rss&utm_medium=rss&utm_campaign=film-school-shorts-interviews-student-filmmakers-at-sf-docfest\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/09/film-school-shorts-interviews-student-filmmakers-at-sf-docfest/?utm_source=rss&utm_medium=rss&utm_campaign=film-school-shorts-interviews-student-filmmakers-at-sf-docfest\" target=\"_blank\" title=\"Film School Shorts Interviews Student Filmmakers at SF Docfest!\" 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/10797534/film-school-shorts-interviews-student-filmmakers-at-sf-docfest",
"authors": [
"204"
],
"categories": [
"arts_74"
],
"featImg": "arts_10797535",
"label": "arts"
},
"arts_10729305": {
"type": "posts",
"id": "arts_10729305",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10729305",
"score": null,
"sort": [
1433550609000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1433550609,
"format": "standard",
"title": "Time Capsule from 1961 Documents Changing Views on Homosexuality",
"headTitle": "Time Capsule from 1961 Documents Changing Views on Homosexuality | KQED",
"content": "\u003cp>It aired on KQED over half a century ago. \u003cem>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\" target=\"_blank\" rel=\"noopener\">The Rejected\u003c/a>\u003c/em> (1961), a documentary thought lost, was recently unearthed at the Library of Congress by the nobly persistent archivists bent on finding and preserving obscure films. Originally produced by KQED for National Educational Television (NET) — the predecessor of WNET — the documentary first aired on Sept. 11, 1961, on KQED Ch.9 in the Bay Area. \u003cem>The Rejected\u003c/em> attempts to find a humane, “objective” and unemotional take on “the problem” of homosexuality — at that time, a revolutionary approach to the subject.\u003c/p>\n\u003cfigure id=\"attachment_10730067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10730067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mattachine640.jpg\" alt=\"Members of the Mattachine Society, still from <i>The Rejected</i>.\" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mattachine640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mattachine640-400x275.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Mattachine Society, still from \u003ci>The Rejected\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>1960s television looks a bit like filmed theater. In \u003ci>The Rejected\u003c/i>, authority figures — doctors, lawyers, priests and government officials — address the viewer while looking directly into the camera, citing studies, legal cases and figures from the \u003ca href=\"http://www.kinseyinstitute.org/\" target=\"_blank\" rel=\"noopener\">Kinsey Institute.\u003c/a> They proffer their opinions to what would seem to be an uninformed, naive audience.\u003c/p>\n\u003cp>The lack of color (both literally and figuratively), suits their place in history. These experts are surrounded by something impenetrable, a future full of knowledge and experience that was just out of reach. A notable exception to this crew are members of the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=91993823\" target=\"_blank\" rel=\"noopener\">Mattachine Society\u003c/a>, one of the first gay rights groups in the country, who attempt to dispel myths surrounding the homosexual community.\u003c/p>\n\u003cfigure id=\"attachment_10730068\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10730068 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mead640.jpg\" alt=\"Margaret Mead and objets d’art in <i>The Rejected</i>.\" width=\"640\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mead640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mead640-400x274.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Mead and objets d’art in \u003ci>The Rejected\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>These men in suits (and \u003ca href=\"http://www.loc.gov/exhibits/mead/mead-shaping.html\" target=\"_blank\" rel=\"noopener\">Margaret Mead\u003c/a>!) are all phantoms now, preserved under studio lights with the clinical cases they make for and against (male) homosexuality. (Nary a lesbian is imagined or mentioned.)\u003c/p>\n\u003cp>Despite some antiquated lines of reasoning that can sound both specious and portentous, and the intermittent quality of the film transfer, you’ll watch \u003ci>The Rejected\u003c/i> until the end, marveling all the while at how long ago and far away the opinions within it sound today. After the Supreme Court ruling on same-sex marriage (due later this month), we may similarly ask, “What will the people of 2065 make of our current expertise, our consciousness, our compassion?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch\u003ci> The Rejected\u003c/i> in its entirety at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Television Archive\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 371,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705046999,
"excerpt": "A rediscovered TV documentary was the first to attempt a humane and \"objective\" take on homosexuality.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A rediscovered TV documentary was the first to attempt a humane and "objective" take on homosexuality.",
"title": "Time Capsule from 1961 Documents Changing Views on Homosexuality | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Time Capsule from 1961 Documents Changing Views on Homosexuality",
"datePublished": "2015-06-05T17:30:09-07:00",
"dateModified": "2024-01-12T00:09:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "time-capsule-from-1961-documents-changing-views-on-homosexuality",
"status": "publish",
"sticky": false,
"path": "/arts/10729305/time-capsule-from-1961-documents-changing-views-on-homosexuality",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It aired on KQED over half a century ago. \u003cem>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\" target=\"_blank\" rel=\"noopener\">The Rejected\u003c/a>\u003c/em> (1961), a documentary thought lost, was recently unearthed at the Library of Congress by the nobly persistent archivists bent on finding and preserving obscure films. Originally produced by KQED for National Educational Television (NET) — the predecessor of WNET — the documentary first aired on Sept. 11, 1961, on KQED Ch.9 in the Bay Area. \u003cem>The Rejected\u003c/em> attempts to find a humane, “objective” and unemotional take on “the problem” of homosexuality — at that time, a revolutionary approach to the subject.\u003c/p>\n\u003cfigure id=\"attachment_10730067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10730067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mattachine640.jpg\" alt=\"Members of the Mattachine Society, still from <i>The Rejected</i>.\" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mattachine640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mattachine640-400x275.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Mattachine Society, still from \u003ci>The Rejected\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>1960s television looks a bit like filmed theater. In \u003ci>The Rejected\u003c/i>, authority figures — doctors, lawyers, priests and government officials — address the viewer while looking directly into the camera, citing studies, legal cases and figures from the \u003ca href=\"http://www.kinseyinstitute.org/\" target=\"_blank\" rel=\"noopener\">Kinsey Institute.\u003c/a> They proffer their opinions to what would seem to be an uninformed, naive audience.\u003c/p>\n\u003cp>The lack of color (both literally and figuratively), suits their place in history. These experts are surrounded by something impenetrable, a future full of knowledge and experience that was just out of reach. A notable exception to this crew are members of the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=91993823\" target=\"_blank\" rel=\"noopener\">Mattachine Society\u003c/a>, one of the first gay rights groups in the country, who attempt to dispel myths surrounding the homosexual community.\u003c/p>\n\u003cfigure id=\"attachment_10730068\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10730068 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mead640.jpg\" alt=\"Margaret Mead and objets d’art in <i>The Rejected</i>.\" width=\"640\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mead640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mead640-400x274.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Mead and objets d’art in \u003ci>The Rejected\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>These men in suits (and \u003ca href=\"http://www.loc.gov/exhibits/mead/mead-shaping.html\" target=\"_blank\" rel=\"noopener\">Margaret Mead\u003c/a>!) are all phantoms now, preserved under studio lights with the clinical cases they make for and against (male) homosexuality. (Nary a lesbian is imagined or mentioned.)\u003c/p>\n\u003cp>Despite some antiquated lines of reasoning that can sound both specious and portentous, and the intermittent quality of the film transfer, you’ll watch \u003ci>The Rejected\u003c/i> until the end, marveling all the while at how long ago and far away the opinions within it sound today. After the Supreme Court ruling on same-sex marriage (due later this month), we may similarly ask, “What will the people of 2065 make of our current expertise, our consciousness, our compassion?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch\u003ci> The Rejected\u003c/i> in its entirety at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Television Archive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10729305/time-capsule-from-1961-documents-changing-views-on-homosexuality",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"featImg": "arts_10730066",
"label": "arts"
},
"arts_10731209": {
"type": "posts",
"id": "arts_10731209",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10731209",
"score": null,
"sort": [
1433512812000
]
},
"guestAuthors": [],
"slug": "a-simplified-brian-wilson-in-love-and-mercy",
"title": "A Simplified Brian Wilson In 'Love And Mercy'",
"publishDate": 1433512812,
"format": "standard",
"headTitle": "A Simplified Brian Wilson In ‘Love And Mercy’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Wouldn’t it be nice if Beach Boy Brian Wilson’s troubled life were as easily understood as \u003cem>Love & Mercy\u003c/em> makes it appear? Where the \u003cem>Pet Sounds \u003c/em>auteur is known for multi-part harmonies, director Bill Pohlad’s biopic is a series of simple duets.\u003c/p>\n\u003cp>Scripter Oren Moverman, who shares credit with Michael Alan Lerner but is reportedly the principal writer, summoned seven Dylans for \u003cem>I’m Not There\u003c/em>. Here he presents just two Brians: one from 1963-67, and another from roughly two decades later. The first is artistically agile, but beginning to lose his psychological balance; the second is essentially imprisoned, and ready to break free.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3atb-ykMR0Y\u003c/p>\n\u003cp>Crucially, the movie also juggles two acting styles. Paul Dano takes a cinematic approach to the younger Brian, even packing on some baby-genius fat to more closely resemble the Beach Boy who preferred junk food and cigarettes to surfing (or touring with the band). John Cusack’s version of the older man is more distanced and theatrical, without attempts at either physical or psychological impersonation. The performance is amiable but not very convincing, and doesn’t mesh with the literal-minded rest of the movie.\u003c/p>\n\u003cp>The two chapters are interwoven, with equal emphasis on both. That makes some sense, since the making of \u003cem>Pet Sounds\u003c/em> is virtually guaranteed to elicit smiley smiles, even from fans who know the history well enough to see how it’s been condensed and elided.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the later story has more dramatic potential. After years of little musical output, Wilson is under the 24-hour-a-day authority of psychologist Eugene Landy (Paul Giamatti), who controls the onetime pop prodigy with drugs the therapist is not legally allowed to prescribe. The becalmed Beach Boy is rescued by Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), who sues Landy and eventually marries Brian.\u003c/p>\n\u003cp>Giamatti and Banks both give enthusiastic but predictable performances in shallowly written roles. Cusack portrays the Landy-dominated Brian as child-like and sometimes fearful, but capable of sly self-awareness. This seems unlikely, given his ’80s diet of sedatives and anti-psychotics.\u003c/p>\n\u003cp>Aside from the heroic Ledbetter, Wilson’s relationships are mostly with villains: Landy, of course, but also his father Murry (Bill Camp) and cousin and bandmate Mike Love (Jake Abel). Those two want hits, and don’t appreciate Brian’s attempts to expand the group’s style and lace the fun-fun-fun with wistfulness and rue.\u003c/p>\n\u003cp>To acknowledge Wilson’s many collaborators, the movie fleetingly introduces two of them, Tony Asher and Van Dyke Parks. But it doesn’t explain what either of them did. (Asher wrote most of \u003cem>Pet Sounds\u003c/em>‘ lyrics, and Parks served repeatedly as Wilson’s lyrical and musical foil.) It’s easier to dramatize a lone prodigy, so the movie makes all the good musical ideas appear to be Brian’s. In reality, even Mike Love had his moments.\u003c/p>\n\u003cp>\u003cem>Love & Mercy\u003c/em> is named, curiously, for a 1988 song that Wilson supposedly co-wrote with Landy. (The extent of the therapist’s contribution has been questioned.) But the movie wisely concentrates on the mid-’60s music, making expert use of the vocal-free backing tracks released on the \u003cem>Pet Sounds \u003c/em>box set. Even Atticus Ross’ shattered-pop score, used to evoke Wilson’s alienation and auditory hallucinations, is cut and pasted mostly from Beach Boys ditties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those tunes wouldn’t be remembered so fondly, however, if they were all sadness, self-doubt, and the disconnection Pohlad visualizes by showing Wilson behind windows or reflected in mirrors. So the final song, which ends a flawed movie with an immaculate burst of joy? Let’s just say it’s not “Hang on to Your Ego.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Played at different stages of his life by Paul Dano and John Cusack, the Brian Wilson who emerges from this film is a less engaging and complex creator than the real Beach Boy.",
"status": "publish",
"parent": 0,
"modified": 1726705354,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 653
},
"headData": {
"title": "A Simplified Brian Wilson In 'Love And Mercy' | KQED",
"description": "Played at different stages of his life by Paul Dano and John Cusack, the Brian Wilson who emerges from this film is a less engaging and complex creator than the real Beach Boy.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Simplified Brian Wilson In 'Love And Mercy'",
"datePublished": "2015-06-05T07:00:12-07:00",
"dateModified": "2024-09-18T17:22:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Jenkins",
"nprStoryId": "411309872",
"nprApiLink": "http://api.npr.org/query?id=411309872&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy?ft=nprml&f=411309872",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 04 Jun 2015 17:01:00 -0400",
"nprStoryDate": "Thu, 04 Jun 2015 17:01:30 -0400",
"nprLastModifiedDate": "Thu, 04 Jun 2015 17:01:30 -0400",
"path": "/arts/10731209/a-simplified-brian-wilson-in-love-and-mercy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wouldn’t it be nice if Beach Boy Brian Wilson’s troubled life were as easily understood as \u003cem>Love & Mercy\u003c/em> makes it appear? Where the \u003cem>Pet Sounds \u003c/em>auteur is known for multi-part harmonies, director Bill Pohlad’s biopic is a series of simple duets.\u003c/p>\n\u003cp>Scripter Oren Moverman, who shares credit with Michael Alan Lerner but is reportedly the principal writer, summoned seven Dylans for \u003cem>I’m Not There\u003c/em>. Here he presents just two Brians: one from 1963-67, and another from roughly two decades later. The first is artistically agile, but beginning to lose his psychological balance; the second is essentially imprisoned, and ready to break free.\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/3atb-ykMR0Y'\n title='//www.youtube.com/embed/3atb-ykMR0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Crucially, the movie also juggles two acting styles. Paul Dano takes a cinematic approach to the younger Brian, even packing on some baby-genius fat to more closely resemble the Beach Boy who preferred junk food and cigarettes to surfing (or touring with the band). John Cusack’s version of the older man is more distanced and theatrical, without attempts at either physical or psychological impersonation. The performance is amiable but not very convincing, and doesn’t mesh with the literal-minded rest of the movie.\u003c/p>\n\u003cp>The two chapters are interwoven, with equal emphasis on both. That makes some sense, since the making of \u003cem>Pet Sounds\u003c/em> is virtually guaranteed to elicit smiley smiles, even from fans who know the history well enough to see how it’s been condensed and elided.\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>Yet the later story has more dramatic potential. After years of little musical output, Wilson is under the 24-hour-a-day authority of psychologist Eugene Landy (Paul Giamatti), who controls the onetime pop prodigy with drugs the therapist is not legally allowed to prescribe. The becalmed Beach Boy is rescued by Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), who sues Landy and eventually marries Brian.\u003c/p>\n\u003cp>Giamatti and Banks both give enthusiastic but predictable performances in shallowly written roles. Cusack portrays the Landy-dominated Brian as child-like and sometimes fearful, but capable of sly self-awareness. This seems unlikely, given his ’80s diet of sedatives and anti-psychotics.\u003c/p>\n\u003cp>Aside from the heroic Ledbetter, Wilson’s relationships are mostly with villains: Landy, of course, but also his father Murry (Bill Camp) and cousin and bandmate Mike Love (Jake Abel). Those two want hits, and don’t appreciate Brian’s attempts to expand the group’s style and lace the fun-fun-fun with wistfulness and rue.\u003c/p>\n\u003cp>To acknowledge Wilson’s many collaborators, the movie fleetingly introduces two of them, Tony Asher and Van Dyke Parks. But it doesn’t explain what either of them did. (Asher wrote most of \u003cem>Pet Sounds\u003c/em>‘ lyrics, and Parks served repeatedly as Wilson’s lyrical and musical foil.) It’s easier to dramatize a lone prodigy, so the movie makes all the good musical ideas appear to be Brian’s. In reality, even Mike Love had his moments.\u003c/p>\n\u003cp>\u003cem>Love & Mercy\u003c/em> is named, curiously, for a 1988 song that Wilson supposedly co-wrote with Landy. (The extent of the therapist’s contribution has been questioned.) But the movie wisely concentrates on the mid-’60s music, making expert use of the vocal-free backing tracks released on the \u003cem>Pet Sounds \u003c/em>box set. Even Atticus Ross’ shattered-pop score, used to evoke Wilson’s alienation and auditory hallucinations, is cut and pasted mostly from Beach Boys ditties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those tunes wouldn’t be remembered so fondly, however, if they were all sadness, self-doubt, and the disconnection Pohlad visualizes by showing Wilson behind windows or reflected in mirrors. So the final song, which ends a flawed movie with an immaculate burst of joy? Let’s just say it’s not “Hang on to Your Ego.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10731209/a-simplified-brian-wilson-in-love-and-mercy",
"authors": [
"byline_arts_10731209"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10731212",
"label": "arts_137"
},
"arts_10705633": {
"type": "posts",
"id": "arts_10705633",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10705633",
"score": null,
"sort": [
1433170841000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1433170841,
"format": "standard",
"title": "Five to Watch: Reeling In The Years",
"headTitle": "Five to Watch: Reeling In The Years | KQED",
"content": "\u003cp>Some moviegoers revel in the relentless parade of choices; others find it overwhelming. The lure of the new is hard to resist, admittedly, given the way pop culture is hawked. June brings an oversize load of popcorn movies, a flurry of high-energy festivals — \u003cstrong>\u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>\u003c/strong> (Jun. 5-19 at the Roxie), \u003ca href=\"http://ticketing.frameline.org/festival/index.aspx\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Frameline39\u003c/strong>\u003c/a> (Jun. 18-28 at the Castro), the brand new \u003ca href=\"http://hellacon.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>HellaCon\u003c/strong>\u003c/a> (Jun. 13-14 at the New Parkway in Oakland) — and Yerba Buena Center for the Arts’ fourth annual survey of \u003ca href=\"http://www.ybca.org/new-filipino-cinema-2015\" target=\"_blank\" rel=\"noopener\">\u003cstrong>New Filipino Cinema\u003c/strong>\u003c/a> (Jun. 11-28). But let’s not forget the films that outlived their initial burst of attention, soared above the vast morass of motion-picture production and entered the pantheon of classics. If some justification is required, let’s just say that summer tends to invite nostalgic memories. Then again, revisiting great art never needs rationalizing.\u003c/p>\n\u003cfigure id=\"attachment_10716558\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Hoffman640.jpg\" alt=\"Moira Shearer <i>The Tales of Hoffmann</i>. (Courtesy of Rialto Pictures/Studiocanal)\" width=\"640\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hoffman640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hoffman640-400x291.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moira Shearer \u003ci>The Tales of Hoffmann\u003c/i>. (Courtesy of Rialto Pictures/Studiocanal)\u003c/figcaption>\u003c/figure>\n\u003cp>Their sails filled by the success of \u003cem>The Red Shoes\u003c/em> (1948), the dynamic English duo of Michael Powell and Emeric Pressburger ventured even further into baroque Technicolor dance mania with their next project. You’ll find zero trace of buttoned-down British conservatism or 1950s repressiveness in \u003cem>The Tales of Hoffman\u003c/em> (1951), a visionary, uncompromising adaptation of Jacques Offenbach’s 19th-century opera. Aided immeasurably by Hein Heckroth’s production design, Powell reimagined a poet’s musings over three lost loves in avowedly cinematic terms. The vivid new restoration of \u003cem>The Tales of Hoffmann\u003c/em>, opening Jun. 5 at Opera Plaza Cinemas, is truly mind-bending. Visit \u003ca href=\"http://www.landmarktheatres.com/san-francisco/film-info/the-tales-of-hoffmann\" target=\"_blank\" rel=\"noopener\">landmarktheatres.com\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10716559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716559\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Apu640.jpg\" alt=\"Subir Banerjee as Apu in <i>Pather Panchali</i>. (Courtesy of Janus Films)\" width=\"640\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Apu640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Apu640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Subir Banerjee as Apu in \u003ci>Pather Panchali\u003c/i>. (Courtesy of Janus Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock famously said, “Drama is life with the dull bits cut out.” He was contradicted by the work of another brilliant director, Satyajit Ray, whose endlessly moving films centered on everyday people. The Bengali filmmaker’s first feature, \u003cem>Pather Panchali\u003c/em> (1955), depicting the rich childhood of a smart, impoverished village boy named Apu, remains one of the greatest debuts in cinema history. Its successors, \u003cem>Aparajito\u003c/em> and \u003cem>The World of Apu\u003c/em>, are indisputable masterpieces, and follow the lad through adolescence into early adulthood. The completion of \u003cem>The Apu Trilogy\u003c/em>‘s painstaking restoration (down to the Ravi Shankar soundtrack) is a major event, and its one-week run beginning Jun. 12 at Opera Plaza in San Francisco and the Shattuck in Berkeley (plus Jul. 19, 26 and Aug. 2 at the Smith Rafael Film Center in San Rafael) should not be missed. Visit \u003ca href=\"http://www.landmarktheatres.com/san-francisco/film-info/pather-panchali\" target=\"_blank\" rel=\"noopener\">landmarktheatres.com\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10716560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716560\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Jaws640.jpg\" alt=\"<i>Jaws</i>. (Courtesy of Universal Pictures)\" width=\"640\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jaws640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jaws640-400x317.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Jaws\u003c/i>. (Courtesy of Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>The summer movie to top all summer movies, Steven Spielberg’s cannily crafted and deliciously manipulative \u003cem>Jaws\u003c/em> gleefully embraced the tropes of horror \u003cem>and\u003c/em> adventure movies. Pitting three likable heroes against ocean and land sharks (the resort town’s profits-before-people mayor), \u003cem>Jaws\u003c/em> delivers a better ride than any theme park. Cast yourself back to a time when special effects were designed to thrill and enhance the audience’s connection with the characters (rather than overwhelm them). The spectacular Paramount Theatre in Oakland celebrates \u003cem>Jaws\u003c/em>’ 40th anniversary on Jun. 26 with a typically fun-filled program, including games and prizes. Visit \u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">paramounttheatre.com\u003c/a> for more information.\u003c/p>\n\u003cfigure id=\"attachment_10716710\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/KMK640.jpg\" alt=\"Still from <i>Kiss Me Kate</i>. (Courtesy of MGM)\" width=\"620\" height=\"400\" class=\"size-full wp-image-10716710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KMK640.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KMK640-400x258.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Kiss Me Kate\u003c/i>. (Courtesy of MGM)\u003c/figcaption>\u003c/figure>\n\u003cp>Musicals, even more than most movies, require that we relinquish our attachment to the real world’s rules of physics and logic. That’s a good deal of the fun, actually. The 1953 MGM tuner, \u003cem>Kiss Me Kate\u003c/em>, reimagines Shakespeare’s \u003cem>The Taming of the Shrew\u003c/em> with Cole Porter songs and a cast of Kathryn Grayson, Howard Keel, Ann Miller and — wait for it — Bob Fosse. Originally released in 3D, when the movies were experimenting with ways to fend off the looming competition of television (everything old is new again, yes?), the film returns in its original format for a one-week run beginning Jun. 26 at the Smith Rafael Film Center. Visit \u003ca href=\"http://rafaelfilm.cafilm.org/kiss-me-kate-3d/\" target=\"_blank\" rel=\"noopener\">rafaelfilm.cafilm.org\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10716562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Contempt640.jpg\" alt=\"Still from <i>Contempt</i>. (Courtesy of Studio Canal)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Contempt640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Contempt640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Contempt\u003c/i>. (Courtesy of Studio Canal)\u003c/figcaption>\u003c/figure>\n\u003cp>The beloved repertory houses, which thrived on certified classics, cult favorites and second-run bookings, have dwindled to a precious few. The Castro, in addition to hosting numerous local festivals and week-long runs of sing-along versions of Disney hits, upholds a tradition of programming unexpected double bills from the vaults. On Jun. 30, the Castro pairs \u003cem>Contempt\u003c/em>, Jean-Luc Godard’s gorgeous, savage 1963 reverie on the sacrifices demanded by filmmaking (starring Brigitte Bardot, Michel Piccoli, Jack Palance and Fritz Lang), with David Lynch’s \u003cem>Mulholland Drive\u003c/em> (2001), which follows Naomi Watts and Laura Harring through the Tinseltown looking-glass of false dreams and manufactured identities. Sometimes looking back feels a lot like looking forward. Visit \u003ca href=\"http://www.castrotheatre.com/index.html\" target=\"_blank\" rel=\"noopener\">castrotheatre.com\u003c/a> for details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 813,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705047032,
"excerpt": "The lure of the new is hard to resist, but a pantheon of classic movies calls to us in June.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The lure of the new is hard to resist, but a pantheon of classic movies calls to us in June.",
"title": "Five to Watch: Reeling In The Years | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five to Watch: Reeling In The Years",
"datePublished": "2015-06-01T08:00:41-07:00",
"dateModified": "2024-01-12T00:10:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-to-watch-reeling-in-the-years",
"status": "publish",
"sticky": false,
"path": "/arts/10705633/five-to-watch-reeling-in-the-years",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some moviegoers revel in the relentless parade of choices; others find it overwhelming. The lure of the new is hard to resist, admittedly, given the way pop culture is hawked. June brings an oversize load of popcorn movies, a flurry of high-energy festivals — \u003cstrong>\u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>\u003c/strong> (Jun. 5-19 at the Roxie), \u003ca href=\"http://ticketing.frameline.org/festival/index.aspx\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Frameline39\u003c/strong>\u003c/a> (Jun. 18-28 at the Castro), the brand new \u003ca href=\"http://hellacon.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>HellaCon\u003c/strong>\u003c/a> (Jun. 13-14 at the New Parkway in Oakland) — and Yerba Buena Center for the Arts’ fourth annual survey of \u003ca href=\"http://www.ybca.org/new-filipino-cinema-2015\" target=\"_blank\" rel=\"noopener\">\u003cstrong>New Filipino Cinema\u003c/strong>\u003c/a> (Jun. 11-28). But let’s not forget the films that outlived their initial burst of attention, soared above the vast morass of motion-picture production and entered the pantheon of classics. If some justification is required, let’s just say that summer tends to invite nostalgic memories. Then again, revisiting great art never needs rationalizing.\u003c/p>\n\u003cfigure id=\"attachment_10716558\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Hoffman640.jpg\" alt=\"Moira Shearer <i>The Tales of Hoffmann</i>. (Courtesy of Rialto Pictures/Studiocanal)\" width=\"640\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hoffman640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hoffman640-400x291.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moira Shearer \u003ci>The Tales of Hoffmann\u003c/i>. (Courtesy of Rialto Pictures/Studiocanal)\u003c/figcaption>\u003c/figure>\n\u003cp>Their sails filled by the success of \u003cem>The Red Shoes\u003c/em> (1948), the dynamic English duo of Michael Powell and Emeric Pressburger ventured even further into baroque Technicolor dance mania with their next project. You’ll find zero trace of buttoned-down British conservatism or 1950s repressiveness in \u003cem>The Tales of Hoffman\u003c/em> (1951), a visionary, uncompromising adaptation of Jacques Offenbach’s 19th-century opera. Aided immeasurably by Hein Heckroth’s production design, Powell reimagined a poet’s musings over three lost loves in avowedly cinematic terms. The vivid new restoration of \u003cem>The Tales of Hoffmann\u003c/em>, opening Jun. 5 at Opera Plaza Cinemas, is truly mind-bending. Visit \u003ca href=\"http://www.landmarktheatres.com/san-francisco/film-info/the-tales-of-hoffmann\" target=\"_blank\" rel=\"noopener\">landmarktheatres.com\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10716559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716559\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Apu640.jpg\" alt=\"Subir Banerjee as Apu in <i>Pather Panchali</i>. (Courtesy of Janus Films)\" width=\"640\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Apu640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Apu640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Subir Banerjee as Apu in \u003ci>Pather Panchali\u003c/i>. (Courtesy of Janus Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock famously said, “Drama is life with the dull bits cut out.” He was contradicted by the work of another brilliant director, Satyajit Ray, whose endlessly moving films centered on everyday people. The Bengali filmmaker’s first feature, \u003cem>Pather Panchali\u003c/em> (1955), depicting the rich childhood of a smart, impoverished village boy named Apu, remains one of the greatest debuts in cinema history. Its successors, \u003cem>Aparajito\u003c/em> and \u003cem>The World of Apu\u003c/em>, are indisputable masterpieces, and follow the lad through adolescence into early adulthood. The completion of \u003cem>The Apu Trilogy\u003c/em>‘s painstaking restoration (down to the Ravi Shankar soundtrack) is a major event, and its one-week run beginning Jun. 12 at Opera Plaza in San Francisco and the Shattuck in Berkeley (plus Jul. 19, 26 and Aug. 2 at the Smith Rafael Film Center in San Rafael) should not be missed. Visit \u003ca href=\"http://www.landmarktheatres.com/san-francisco/film-info/pather-panchali\" target=\"_blank\" rel=\"noopener\">landmarktheatres.com\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10716560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716560\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Jaws640.jpg\" alt=\"<i>Jaws</i>. (Courtesy of Universal Pictures)\" width=\"640\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jaws640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jaws640-400x317.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Jaws\u003c/i>. (Courtesy of Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>The summer movie to top all summer movies, Steven Spielberg’s cannily crafted and deliciously manipulative \u003cem>Jaws\u003c/em> gleefully embraced the tropes of horror \u003cem>and\u003c/em> adventure movies. Pitting three likable heroes against ocean and land sharks (the resort town’s profits-before-people mayor), \u003cem>Jaws\u003c/em> delivers a better ride than any theme park. Cast yourself back to a time when special effects were designed to thrill and enhance the audience’s connection with the characters (rather than overwhelm them). The spectacular Paramount Theatre in Oakland celebrates \u003cem>Jaws\u003c/em>’ 40th anniversary on Jun. 26 with a typically fun-filled program, including games and prizes. Visit \u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">paramounttheatre.com\u003c/a> for more information.\u003c/p>\n\u003cfigure id=\"attachment_10716710\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/KMK640.jpg\" alt=\"Still from <i>Kiss Me Kate</i>. (Courtesy of MGM)\" width=\"620\" height=\"400\" class=\"size-full wp-image-10716710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KMK640.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KMK640-400x258.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Kiss Me Kate\u003c/i>. (Courtesy of MGM)\u003c/figcaption>\u003c/figure>\n\u003cp>Musicals, even more than most movies, require that we relinquish our attachment to the real world’s rules of physics and logic. That’s a good deal of the fun, actually. The 1953 MGM tuner, \u003cem>Kiss Me Kate\u003c/em>, reimagines Shakespeare’s \u003cem>The Taming of the Shrew\u003c/em> with Cole Porter songs and a cast of Kathryn Grayson, Howard Keel, Ann Miller and — wait for it — Bob Fosse. Originally released in 3D, when the movies were experimenting with ways to fend off the looming competition of television (everything old is new again, yes?), the film returns in its original format for a one-week run beginning Jun. 26 at the Smith Rafael Film Center. Visit \u003ca href=\"http://rafaelfilm.cafilm.org/kiss-me-kate-3d/\" target=\"_blank\" rel=\"noopener\">rafaelfilm.cafilm.org\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10716562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10716562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Contempt640.jpg\" alt=\"Still from <i>Contempt</i>. (Courtesy of Studio Canal)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Contempt640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Contempt640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Contempt\u003c/i>. (Courtesy of Studio Canal)\u003c/figcaption>\u003c/figure>\n\u003cp>The beloved repertory houses, which thrived on certified classics, cult favorites and second-run bookings, have dwindled to a precious few. The Castro, in addition to hosting numerous local festivals and week-long runs of sing-along versions of Disney hits, upholds a tradition of programming unexpected double bills from the vaults. On Jun. 30, the Castro pairs \u003cem>Contempt\u003c/em>, Jean-Luc Godard’s gorgeous, savage 1963 reverie on the sacrifices demanded by filmmaking (starring Brigitte Bardot, Michel Piccoli, Jack Palance and Fritz Lang), with David Lynch’s \u003cem>Mulholland Drive\u003c/em> (2001), which follows Naomi Watts and Laura Harring through the Tinseltown looking-glass of false dreams and manufactured identities. Sometimes looking back feels a lot like looking forward. Visit \u003ca href=\"http://www.castrotheatre.com/index.html\" target=\"_blank\" rel=\"noopener\">castrotheatre.com\u003c/a> for details.\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/10705633/five-to-watch-reeling-in-the-years",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10716564",
"label": "arts"
},
"arts_10705325": {
"type": "posts",
"id": "arts_10705325",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10705325",
"score": null,
"sort": [
1432911608000
]
},
"guestAuthors": [],
"slug": "the-future-is-bright-in-the-time-and-space-twisting-tomorrowland",
"title": "The Future is Bright in the Time-And-Space Twisting 'Tomorrowland'",
"publishDate": 1432911608,
"format": "standard",
"headTitle": "The Future is Bright in the Time-And-Space Twisting ‘Tomorrowland’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Much of Brad Bird’s Disney sci-fi adventure \u003cem>Tomorrowland\u003c/em> is terrific fun, but it’s one of the strangest family movies I’ve seen: Bird’s not just making a case for hope, he’s making a furious, near-hysterical case against anti-hope.\u003c/p>\n\u003cp>After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century’s most enduring symbol of technological optimism: The 1964 New York World’s Fair. Clooney’s character, Frank Walker, is a preteen science nerd who is demonstrating his semifunctional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix’s daughter, secretly slips the boy a World’s Fair pin that transports him somewhere \u003cem>fabulous\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0sH0__SpV88\u003c/p>\n\u003cp>I can’t describe where that is because the fun in \u003cem>Tomorrowland\u003c/em> comes from being constantly upended. What I can say is that for Bird the ’64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful “city of the future” inspired awe instead of cynicism. For Frank, anything seems possible.\u003c/p>\n\u003cp>Frank is not the movie’s protagonist, but it’s someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she’s so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment — and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she’s in what I’m tempted to call a field of dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s obvious why both Casey and Frank got that pin: They have imaginations that can’t be dampened. Casey’s dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film’s worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: “The one you \u003cem>feed\u003c/em>.”\u003c/p>\n\u003cp>After Casey joins forces with the middle-aged Frank, much of \u003cem>Tomorrowland\u003c/em> is time-and-space jumping plus blast-’em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It’s not that Bird is disparaging climate change or other dangers. He’s saying our society has become so comfortable with the vision of apocalypse that we’re not dreaming up solutions.\u003c/p>\n\u003cp>Maybe Bird is right and we \u003cem>are\u003c/em> too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But \u003cem>Tomorrowland\u003c/em> has a weird side, too. Bird has acknowledged the influence of Ayn Rand’s militant individualism, and so the enemies he identifies aren’t, say, the people \u003cem>causing\u003c/em> climate change. They’re the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, “Can we \u003cem>fix\u003c/em> it?” Nihilistic groupthink rules our culture, says Bird, and Casey’s positivity makes her a pariah.\u003c/p>\n\u003cp>Apart from that — a big “apart” — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of \u003cem>The Incredibles\u003c/em>, \u003cem>Ratatouille\u003c/em> and the last \u003cem>Mission: Impossible\u003c/em> film, \u003cem>Ghost Protocol\u003c/em>, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator’s sense of possibilities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson’s jumpy Casey pairs beautifully with Raffey Cassidy’s crisp underplaying as the enigmatic Athena. I hope neither actress follows \u003cem>Tomorrowland\u003c/em> with a plague or \u003cem>Mad Max \u003c/em>film — though we all know that in Hollywood, movies with no future are the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Brad Bird's new sci-fi adventure film makes a \"near-hysterical case\" against pessimism.",
"status": "publish",
"parent": 0,
"modified": 1726705360,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 750
},
"headData": {
"title": "The Future is Bright in the Time-And-Space Twisting 'Tomorrowland' | KQED",
"description": "Brad Bird's new sci-fi adventure film makes a "near-hysterical case" against pessimism.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Future is Bright in the Time-And-Space Twisting 'Tomorrowland'",
"datePublished": "2015-05-29T08:00:08-07:00",
"dateModified": "2024-09-18T17:22:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "David Edelstein",
"nprStoryId": "408459870",
"nprApiLink": "http://api.npr.org/query?id=408459870&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/05/22/408459870/the-future-is-bright-in-the-time-and-space-twisting-tomorrowland?ft=nprml&f=408459870",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 22 May 2015 17:34:00 -0400",
"nprStoryDate": "Fri, 22 May 2015 15:36:00 -0400",
"nprLastModifiedDate": "Fri, 22 May 2015 17:34:27 -0400",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/05/20150522_fa_02.mp3?orgId=1&topicId=4467349&d=345&p=13&story=408459870&t=progseg&e=408453740&seg=2&ft=nprml&f=408459870",
"nprAudioM3u": "http://api.npr.org/m3u/1408830374-4f842b.m3u?orgId=1&topicId=4467349&d=345&p=13&story=408459870&t=progseg&e=408453740&seg=2&ft=nprml&f=408459870",
"path": "/arts/10705325/the-future-is-bright-in-the-time-and-space-twisting-tomorrowland",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/05/20150522_fa_02.mp3?orgId=1&topicId=4467349&d=345&p=13&story=408459870&t=progseg&e=408453740&seg=2&ft=nprml&f=408459870",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much of Brad Bird’s Disney sci-fi adventure \u003cem>Tomorrowland\u003c/em> is terrific fun, but it’s one of the strangest family movies I’ve seen: Bird’s not just making a case for hope, he’s making a furious, near-hysterical case against anti-hope.\u003c/p>\n\u003cp>After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century’s most enduring symbol of technological optimism: The 1964 New York World’s Fair. Clooney’s character, Frank Walker, is a preteen science nerd who is demonstrating his semifunctional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix’s daughter, secretly slips the boy a World’s Fair pin that transports him somewhere \u003cem>fabulous\u003c/em>.\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/0sH0__SpV88'\n title='//www.youtube.com/embed/0sH0__SpV88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I can’t describe where that is because the fun in \u003cem>Tomorrowland\u003c/em> comes from being constantly upended. What I can say is that for Bird the ’64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful “city of the future” inspired awe instead of cynicism. For Frank, anything seems possible.\u003c/p>\n\u003cp>Frank is not the movie’s protagonist, but it’s someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she’s so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment — and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she’s in what I’m tempted to call a field of dreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s obvious why both Casey and Frank got that pin: They have imaginations that can’t be dampened. Casey’s dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film’s worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: “The one you \u003cem>feed\u003c/em>.”\u003c/p>\n\u003cp>After Casey joins forces with the middle-aged Frank, much of \u003cem>Tomorrowland\u003c/em> is time-and-space jumping plus blast-’em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It’s not that Bird is disparaging climate change or other dangers. He’s saying our society has become so comfortable with the vision of apocalypse that we’re not dreaming up solutions.\u003c/p>\n\u003cp>Maybe Bird is right and we \u003cem>are\u003c/em> too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But \u003cem>Tomorrowland\u003c/em> has a weird side, too. Bird has acknowledged the influence of Ayn Rand’s militant individualism, and so the enemies he identifies aren’t, say, the people \u003cem>causing\u003c/em> climate change. They’re the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, “Can we \u003cem>fix\u003c/em> it?” Nihilistic groupthink rules our culture, says Bird, and Casey’s positivity makes her a pariah.\u003c/p>\n\u003cp>Apart from that — a big “apart” — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of \u003cem>The Incredibles\u003c/em>, \u003cem>Ratatouille\u003c/em> and the last \u003cem>Mission: Impossible\u003c/em> film, \u003cem>Ghost Protocol\u003c/em>, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator’s sense of possibilities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson’s jumpy Casey pairs beautifully with Raffey Cassidy’s crisp underplaying as the enigmatic Athena. I hope neither actress follows \u003cem>Tomorrowland\u003c/em> with a plague or \u003cem>Mad Max \u003c/em>film — though we all know that in Hollywood, movies with no future are the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10705325/the-future-is-bright-in-the-time-and-space-twisting-tomorrowland",
"authors": [
"byline_arts_10705325"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10705326",
"label": "arts_137"
},
"arts_10694861": {
"type": "posts",
"id": "arts_10694861",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10694861",
"score": null,
"sort": [
1432666841000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1432666841,
"format": "standard",
"title": "F.W. Murnau’s 'The Last Laugh' Gets a Bold New Sound",
"headTitle": "F.W. Murnau’s ‘The Last Laugh’ Gets a Bold New Sound | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Silent Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Pristine prints and premiere musicians.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28-Jun. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Creating a new score for a classic silent film is a big responsibility, one that Sheldon Mirowitz takes very seriously. A professor in the Berklee College of Music’s Film Scoring Department, he teaches a coveted class in which he leads a small group in creating a commissioned score for an iconic film from the silent era. The Berklee Silent Film Orchestra (BSFO) makes its West Coast debut Friday, May 29 at the Castro Theatre as part of the 20th annual \u003cstrong>\u003ca href=\"http://www.silentfilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/strong>, performing a recently premiered original score to F.W. Murnau’s 1924 masterpiece \u003cem>The Last Laugh\u003c/em>.\u003c/p>\n\u003cp>“This is our coming out party to the silent film community,” says Mirowitz, a long-time professor in the world’s only undergraduate degree program in film scoring. “It’s a wonderful movie. The main thing for me is that I want to do something that will help make it accessible so people can experience it the way it’s supposed to be. I don’t want to make this a concert with the film playing in the background. The film is already a masterpiece, and our score is going to make it even cooler.”\u003c/p>\n\u003cfigure id=\"attachment_10698145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10698145 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg\" alt=\"The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau's <i>The Last Laugh</i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau’s \u003ci>The Last Laugh\u003c/i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Last Laugh\u003c/em> stars the brilliant Swiss-born German/Austrian actor Emil Jannings, whose life trajectory in some ways echoes the fate of the film’s protagonist. A major star best known for his collaborations with Murnau and Josef von Sternberg, Jannings won the first Academy Award for best actor in 1927-28. Like so many silent era peers, the advent of sound ended his rise in Hollywood, but he thrived back in Europe, starring in classics like \u003cem>The Blue Angel\u003c/em> with Marlene Dietrich. But his willingness to work extensively with the Nazi regime meant he was barred from film after the war, and he died in obscurity in 1950.\u003c/p>\n\u003cp>Widely considered his greatest role, his chief porter in \u003cem>The Last Laugh\u003c/em> works in a luxurious hotel. The respect and dignity of his position evaporates when he’s demoted to restroom attendant, and the film explores his efforts to hide his humiliation from his family. For Friday’s screening, the Berklee Silent Film Orchestra performs their score to a new, \u003ca href=\"http://en.wikipedia.org/wiki/Digital_Cinema_Package\" target=\"_blank\" rel=\"noopener\">high-definition DCP print\u003c/a> of the film never previously seen in the U.S., obtained by the festival from the Friedrich Wilhelm Murnau Foundation.\u003c/p>\n\u003cp>With every member of Mirowitz’s class taking turns conducting and sometimes playing, each BSFO performance requires intricate choreography. The ensemble’s instrumentation features strings, woodwinds and brass.\u003c/p>\n\u003cfigure id=\"attachment_10698149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg\" alt=\"Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Allen Staats)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Staats)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past five years, Mirowitz and his classes have scored nine classic silent features, including Sergei Eisenstein’s \u003cem>Battleship Potemkin\u003c/em>, Ewald André Dupont’s \u003cem>Piccadilly\u003c/em>, Murnau’s \u003cem>Faust\u003c/em>, Harold Lloyd’s \u003cem>Safety Last\u003c/em> and Rupert Julian’s \u003cem>Phantom of the Opera\u003c/em>, which were all commissioned by the Coolidge Corner Theatre in Brookline, Mass., as part of the theater’s \u003cstrong>\u003ca href=\"http://www.coolidge.org/programs/sounds-of-silents\" target=\"_blank\" rel=\"noopener\">Sounds of Silents\u003c/a>\u003c/strong> program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rather than treating the films as historical documents, Mirowitz approaches the movies as works of art with a vocabulary that’s largely unfamiliar to contemporary audiences. The job of the score is “to make the story come more alive,” he says. “We get to make it new.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 629,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047058,
"excerpt": "The Berklee Silent Film Orchestra makes its West Coast debut with an original score for a silent film.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Berklee Silent Film Orchestra makes its West Coast debut with an original score for a silent film.",
"title": "F.W. Murnau’s 'The Last Laugh' Gets a Bold New Sound | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "F.W. Murnau’s 'The Last Laugh' Gets a Bold New Sound",
"datePublished": "2015-05-26T12:00:41-07:00",
"dateModified": "2024-01-12T00:10:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "f-w-murnaus-the-last-laugh-gets-a-bold-new-sound",
"status": "publish",
"sticky": false,
"path": "/arts/10694861/f-w-murnaus-the-last-laugh-gets-a-bold-new-sound",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Silent Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Pristine prints and premiere musicians.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28-Jun. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Creating a new score for a classic silent film is a big responsibility, one that Sheldon Mirowitz takes very seriously. A professor in the Berklee College of Music’s Film Scoring Department, he teaches a coveted class in which he leads a small group in creating a commissioned score for an iconic film from the silent era. The Berklee Silent Film Orchestra (BSFO) makes its West Coast debut Friday, May 29 at the Castro Theatre as part of the 20th annual \u003cstrong>\u003ca href=\"http://www.silentfilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/strong>, performing a recently premiered original score to F.W. Murnau’s 1924 masterpiece \u003cem>The Last Laugh\u003c/em>.\u003c/p>\n\u003cp>“This is our coming out party to the silent film community,” says Mirowitz, a long-time professor in the world’s only undergraduate degree program in film scoring. “It’s a wonderful movie. The main thing for me is that I want to do something that will help make it accessible so people can experience it the way it’s supposed to be. I don’t want to make this a concert with the film playing in the background. The film is already a masterpiece, and our score is going to make it even cooler.”\u003c/p>\n\u003cfigure id=\"attachment_10698145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10698145 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg\" alt=\"The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau's <i>The Last Laugh</i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau’s \u003ci>The Last Laugh\u003c/i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Last Laugh\u003c/em> stars the brilliant Swiss-born German/Austrian actor Emil Jannings, whose life trajectory in some ways echoes the fate of the film’s protagonist. A major star best known for his collaborations with Murnau and Josef von Sternberg, Jannings won the first Academy Award for best actor in 1927-28. Like so many silent era peers, the advent of sound ended his rise in Hollywood, but he thrived back in Europe, starring in classics like \u003cem>The Blue Angel\u003c/em> with Marlene Dietrich. But his willingness to work extensively with the Nazi regime meant he was barred from film after the war, and he died in obscurity in 1950.\u003c/p>\n\u003cp>Widely considered his greatest role, his chief porter in \u003cem>The Last Laugh\u003c/em> works in a luxurious hotel. The respect and dignity of his position evaporates when he’s demoted to restroom attendant, and the film explores his efforts to hide his humiliation from his family. For Friday’s screening, the Berklee Silent Film Orchestra performs their score to a new, \u003ca href=\"http://en.wikipedia.org/wiki/Digital_Cinema_Package\" target=\"_blank\" rel=\"noopener\">high-definition DCP print\u003c/a> of the film never previously seen in the U.S., obtained by the festival from the Friedrich Wilhelm Murnau Foundation.\u003c/p>\n\u003cp>With every member of Mirowitz’s class taking turns conducting and sometimes playing, each BSFO performance requires intricate choreography. The ensemble’s instrumentation features strings, woodwinds and brass.\u003c/p>\n\u003cfigure id=\"attachment_10698149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg\" alt=\"Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Allen Staats)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Staats)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past five years, Mirowitz and his classes have scored nine classic silent features, including Sergei Eisenstein’s \u003cem>Battleship Potemkin\u003c/em>, Ewald André Dupont’s \u003cem>Piccadilly\u003c/em>, Murnau’s \u003cem>Faust\u003c/em>, Harold Lloyd’s \u003cem>Safety Last\u003c/em> and Rupert Julian’s \u003cem>Phantom of the Opera\u003c/em>, which were all commissioned by the Coolidge Corner Theatre in Brookline, Mass., as part of the theater’s \u003cstrong>\u003ca href=\"http://www.coolidge.org/programs/sounds-of-silents\" target=\"_blank\" rel=\"noopener\">Sounds of Silents\u003c/a>\u003c/strong> program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rather than treating the films as historical documents, Mirowitz approaches the movies as works of art with a vocabulary that’s largely unfamiliar to contemporary audiences. The job of the score is “to make the story come more alive,” he says. “We get to make it new.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10694861/f-w-murnaus-the-last-laugh-gets-a-bold-new-sound",
"authors": [
"86"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_596"
],
"featImg": "arts_10698142",
"label": "arts"
},
"arts_10681817": {
"type": "posts",
"id": "arts_10681817",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10681817",
"score": null,
"sort": [
1432306846000
]
},
"guestAuthors": [],
"slug": "aloft-a-haunting-family-drama-ripe-with-magical-realism",
"title": "'Aloft': A Haunting Family Drama Ripe With Magical Realism",
"publishDate": 1432306846,
"format": "standard",
"headTitle": "‘Aloft’: A Haunting Family Drama Ripe With Magical Realism | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The first scene of \u003cem>Aloft\u003c/em> is one of the more haunting movie openings in recent years. It’s a bitter cold day in northern Canada; against a barren snowscape, a single mother named Nana (Jennifer Connolly) and her two young sons hitch rides in vans from morose men toward an increasingly remote location. With little dialogue, we discover they are on their way to visit a faith healer named The Architect, who performs rituals for a cult of believers in an igloo-like structure built from twigs. Nana’s younger son is ill; this shack, and the fragile, unspoken promise it houses, is her last hope. But, her older son is a budding falconer and his majestic bird takes flight against The Architect.\u003c/p>\n\u003cp>The sensory power of this scene is still ringing even as the film’s mystique slowly drains. \u003cem>Aloft\u003c/em> cuts between two timeframes: one in which Nana has subsequent run-ins with The Architect as her youngest becomes sicker, and a period 20 years later, when she has assumed her own faith-healing mantle. Her older son, Ivan (Cillian Murphy), is unable to cope with his mother’s abandonment and retreats into his birds. A French journalist (Mélanie Laurent) comes to Ivan’s doorstep looking for Nana, and despite his livid protests he eventually agrees to accompany her on a trek to the remote Arctic Circle outpost where Nana lives as a recluse with her followers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ImbiTVzpJBo\u003c/p>\n\u003cp>It’s a journey of discovery for Ivan: What caused his mother to abandon her child for a spiritual quest? It’s also a journey for the audience, but not in the way the film intends. The film is filled with gabbing and melodrama, even as it maintains the gorgeous visuals. The present-day trek northward fills the stark, airy void with chatter that glazes over Nana’s state of mind. It feels unnecessary.\u003c/p>\n\u003cp>The competing storylines pull \u003cem>Aloft\u003c/em> away from its central questions. The entire flashback structure is building toward one of those twist endings that the characters would already know, but that’s being deliberately withheld from the audience in an attempt at suspense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Connolly and Murphy give strong performances, though neither of them looks completely in sync with the Great White North surroundings. Connolly never quite sells Nana’s transformation from desperate mother to full-blown mystic, though since we barely see her in full-on faith-healer mode, there’s little reason to buy her arc, anyway. With his bony physique and head constantly buried under a hood, Murphy always seems lost in his own world. He does, however, have great chemistry with his falcon.\u003c/p>\n\u003cp>\u003cem>Aloft \u003c/em>was written and directed by Peruvian filmmaker Claudia Llosa. Her previous feature was 2009’s Oscar-nominated \u003cem>The Milk Of Sorrow\u003c/em>, about a young woman who goes to extreme measures to avoid the abuse her mother met at the hands of Peru’s military dictatorship, and it’s an intoxicating mix of magic realism, body horror, and reckoning with a nation’s painful history. Her new film lacks the same unnerving qualities—it feels like a more standard tale of frayed familial bonds that happens to take place in an unusual setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Aloft \u003c/em>maintains Llosa’s biggest strength as a filmmaker: an acute sense of place. The movie was filmed in Manitoba and makes full use of its gorgeous isolation, including a harrowing scene on the frozen ice roads of Lake Winnipeg. The cinematographer, Nicolas Bolduc, keeps his camera low, centered on the characters as their fates spill over into the vast winter surrounding them. With frequent cutaways to flying hawks against this landscape, Llosa evokes the animal-themed wilderness narratives of Jack London. That opening still shines like a beacon in the frozen north, though less brightly once we’ve heard the noise and seen the nothingness which follows.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Claudia Llosa's film features strong performances from Jennifer Connelly and Cillian Murphy and a vivid sense of place.",
"status": "publish",
"parent": 0,
"modified": 1726705365,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 668
},
"headData": {
"title": "'Aloft': A Haunting Family Drama Ripe With Magical Realism | KQED",
"description": "Claudia Llosa's film features strong performances from Jennifer Connelly and Cillian Murphy and a vivid sense of place.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Aloft': A Haunting Family Drama Ripe With Magical Realism",
"datePublished": "2015-05-22T08:00:46-07:00",
"dateModified": "2024-09-18T17:22:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprStoryId": "407744528",
"nprApiLink": "http://api.npr.org/query?id=407744528&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/05/21/407744528/aloft-a-haunting-family-drama-ripe-with-magical-realism?ft=nprml&f=407744528",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 21 May 2015 17:03:00 -0400",
"nprStoryDate": "Thu, 21 May 2015 17:03:21 -0400",
"nprLastModifiedDate": "Thu, 21 May 2015 17:03:21 -0400",
"path": "/arts/10681817/aloft-a-haunting-family-drama-ripe-with-magical-realism",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first scene of \u003cem>Aloft\u003c/em> is one of the more haunting movie openings in recent years. It’s a bitter cold day in northern Canada; against a barren snowscape, a single mother named Nana (Jennifer Connolly) and her two young sons hitch rides in vans from morose men toward an increasingly remote location. With little dialogue, we discover they are on their way to visit a faith healer named The Architect, who performs rituals for a cult of believers in an igloo-like structure built from twigs. Nana’s younger son is ill; this shack, and the fragile, unspoken promise it houses, is her last hope. But, her older son is a budding falconer and his majestic bird takes flight against The Architect.\u003c/p>\n\u003cp>The sensory power of this scene is still ringing even as the film’s mystique slowly drains. \u003cem>Aloft\u003c/em> cuts between two timeframes: one in which Nana has subsequent run-ins with The Architect as her youngest becomes sicker, and a period 20 years later, when she has assumed her own faith-healing mantle. Her older son, Ivan (Cillian Murphy), is unable to cope with his mother’s abandonment and retreats into his birds. A French journalist (Mélanie Laurent) comes to Ivan’s doorstep looking for Nana, and despite his livid protests he eventually agrees to accompany her on a trek to the remote Arctic Circle outpost where Nana lives as a recluse with her followers.\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/ImbiTVzpJBo'\n title='//www.youtube.com/embed/ImbiTVzpJBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a journey of discovery for Ivan: What caused his mother to abandon her child for a spiritual quest? It’s also a journey for the audience, but not in the way the film intends. The film is filled with gabbing and melodrama, even as it maintains the gorgeous visuals. The present-day trek northward fills the stark, airy void with chatter that glazes over Nana’s state of mind. It feels unnecessary.\u003c/p>\n\u003cp>The competing storylines pull \u003cem>Aloft\u003c/em> away from its central questions. The entire flashback structure is building toward one of those twist endings that the characters would already know, but that’s being deliberately withheld from the audience in an attempt at suspense.\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>Connolly and Murphy give strong performances, though neither of them looks completely in sync with the Great White North surroundings. Connolly never quite sells Nana’s transformation from desperate mother to full-blown mystic, though since we barely see her in full-on faith-healer mode, there’s little reason to buy her arc, anyway. With his bony physique and head constantly buried under a hood, Murphy always seems lost in his own world. He does, however, have great chemistry with his falcon.\u003c/p>\n\u003cp>\u003cem>Aloft \u003c/em>was written and directed by Peruvian filmmaker Claudia Llosa. Her previous feature was 2009’s Oscar-nominated \u003cem>The Milk Of Sorrow\u003c/em>, about a young woman who goes to extreme measures to avoid the abuse her mother met at the hands of Peru’s military dictatorship, and it’s an intoxicating mix of magic realism, body horror, and reckoning with a nation’s painful history. Her new film lacks the same unnerving qualities—it feels like a more standard tale of frayed familial bonds that happens to take place in an unusual setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Aloft \u003c/em>maintains Llosa’s biggest strength as a filmmaker: an acute sense of place. The movie was filmed in Manitoba and makes full use of its gorgeous isolation, including a harrowing scene on the frozen ice roads of Lake Winnipeg. The cinematographer, Nicolas Bolduc, keeps his camera low, centered on the characters as their fates spill over into the vast winter surrounding them. With frequent cutaways to flying hawks against this landscape, Llosa evokes the animal-themed wilderness narratives of Jack London. That opening still shines like a beacon in the frozen north, though less brightly once we’ve heard the noise and seen the nothingness which follows.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10681817/aloft-a-haunting-family-drama-ripe-with-magical-realism",
"authors": [
"byline_arts_10681817"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10681822",
"label": "arts_137"
},
"arts_10656457": {
"type": "posts",
"id": "arts_10656457",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10656457",
"score": null,
"sort": [
1432062021000
]
},
"guestAuthors": [],
"slug": "a-thinking-persons-guide-to-this-years-summer-movies",
"title": "A Thinking Person’s Guide to This Year's Summer Movies",
"publishDate": 1432062021,
"format": "standard",
"headTitle": "A Thinking Person’s Guide to This Year’s Summer Movies | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>You may have noticed that summer began weeks ago, at least according to Hollywood’s calendar. Apparently there aren’t enough Fridays between Memorial Day and Labor Day (the definition of summer, once upon a time) for all the comic-book movies, action flicks, apocalyptic adventures and animated frolics. So the studios start pumping their “premier” product to the multiplexes even before kids are out of school.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I feel a bit like a superhero myself, or Mad Max jumping onto a speeding big-rig, leaping into the fray at this point with my own list of anticipated movies and festivals. (Alas, I could never pull off spandex and black leather.)\u003cbr>\n\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671613\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-400x224.jpg\" alt=\"Still from <i>San Andreas</i>\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10671613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie.jpg 1014w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>San Andreas\u003c/em>\u003c/h3>\n\u003ch5>May 29\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">If you see only one over-the-top, spine-shaking, eardrum-rattling movie this summer, then you have more self-control (or taste) than most Americans. You might as well play the nonplussed Californian and make it this one, though be forewarned that the preposterous and ultimately sentimental story involves L.A. Fire Dept. chopper pilot Dwayne Johnson and his ex-wife (Carla Gugino) rescuing their daughter in San Francisco after The Big One.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671614\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10671614\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-400x267.jpg\" alt=\"Still from <i>The Sandwich Nazi</i> (Courtesy of SF Doc Fest)\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>The Sandwich Nazi\u003c/i> (Courtesy of SF Doc Fest)\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Docfest\u003c/h3>\n\u003ch5>June 4-18\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Vinyl fans should mark their calendars for opening night and Colin Hanks’ wonderful history of Tower Records, \u003cem>All Things Must Pass\u003c/em>. The down-to-earth festival features colorful chunks of hard-to-believe reality, from \u003cem>The Sandwich Nazi\u003c/em> (a profile of a foul-mouthed Vancouver eccentric) to \u003cem>The Desk\u003c/em> (former New York Times interviewer Andrew Goldman’s on-camera recovery from his unceremonious firing). The tempting Bay Area docs include \u003cem>Top Spin\u003c/em> (a staccato saga of aspiring Olympic ping pong players) and the eye-opening, consciousness-raising \u003cem>Three to Infinity: Beyond Two Genders\u003c/em>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671617\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/love-and-mercy-toronto-film-festival-2-400x225.jpg\" alt=\"Still from <i>Love & Mercy<i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10671617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/love-and-mercy-toronto-film-festival-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/love-and-mercy-toronto-film-festival-2.jpg 670w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of River Road Entertainment)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Love & Mercy\u003c/em>\u003c/h3>\n\u003ch5>June 5\u003c/h5>\n\u003cp>The Beach Boys epitomize summer, thanks to the ecstatic genius and acute sensitivity of songwriter Brian Wilson. Bill Pohlad’s remarkable biopic focuses on two distinct periods in Wilson’s life—when the panicked-by-success composer (played by Paul Dano) quit performing in the mid-‘60s to obsessively record Pet Sounds, and two decades later when the psychologically damaged agoraphobe (John Cusack) was under the spell of Dr. Eugene Landy (Paul Giamatti).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10674012\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158-400x225.jpg\" alt=\"Scene from Inside Out\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10674012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158.jpg 936w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Pixar)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Inside Out\u003c/em>\u003c/h3>\n\u003ch5>June 19\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Last summer marked the first time since 2005 that Pixar didn’t release a new film during the prime box-office season. So it’s been two full years since the Emeryville hitmakers lit up a marquee. Writer-director Pete Docter (\u003cem>Up\u003c/em>) ends the drought with a torrential cascade of mind-blowing images, ideas, gags and insights inspired by the inner workings of an 11-year-old girl’s brain. Transplanted from blissful Minnesota to unwelcoming San Francisco, Riley has a lot to deal with—and mostly does so while she’s dreaming. As has usually been true of Pixar’s best work, \u003cem>Inside Out\u003c/em> is a movie for kids and grownups.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671619\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/testament-of-youth-400x267.jpg\" alt=\"Still from <i>Testament of Youth</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10671619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/testament-of-youth-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/testament-of-youth-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/testament-of-youth.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of BBC Films)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Testament of Youth\u003c/em>\u003c/h3>\n\u003ch5>June 12\u003c/h5>\n\u003cp>Summer movies are the essence of escapism, but no one wants to shut off their brain for four months. (The presidential campaign may test that assertion.) Commemorate The Great War with this powerful rendering of Vera Brittain’s beloved pacifist memoir, starring Alicia Vikander, Kit Harington, Emily Watson and Dominic West. The British television director James Kent steps out with style and pathos; you ought not to step out without a hanky.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671616\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger-400x267.jpg\" alt=\"Still from I Am Michael\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10671616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>I Am Michael\u003c/i> (Courtesy of Frameline)\u003c/figcaption>\u003c/figure>\n\u003ch3>Frameline\u003c/h3>\n\u003ch5>June 18-28\u003c/h5>\n\u003cp> Queers from all over the West make an annual summer pilgrimage to naturally air-conditioned San Francisco for this smorgasbord of GLBT movies. Isn’t that endorsement enough? The narratives are unusually strong this year, from \u003cem>I Am Michael\u003c/em> (starring James Franco as real life S.F. gay activist-turned-Christian pastor Michael Glatze) on opening night to the twisty lesbian drama Bare on closing night. Tab Hunter, Yvonne Rainer, Larry Kramer and Chuck Holmes are among the many intriguing documentary subjects.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10336858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/batkid_4-400x267.jpg\" alt=\"Scene from Batkid Begins from John Crane Films\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10336858\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Batkid Begins\u003c/i> from John Crane Films \u003ccite>( John Crane Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Batkid Begins\u003c/em>\u003c/h3>\n\u003ch5>June 26\u003c/h5>\n\u003cp> On Nov. 15, 2013, San Francisco transformed into Gotham City as thousands of residents helped Miles Scott fulfill his wish to portray the Caped Crusader and vanquish villains on the street. Dana Nachman’s heartwarming documentary about the local campaign and global phenomenon catalyzed by one young leukemia patient depicts the positive aspects of a digitally connected planet.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671761\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/mr-holmes-400x225.jpg\" alt=\"Sir Ian McKellan in <i>Mr. Holmes</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10671761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/mr-holmes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/mr-holmes.jpg 670w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of See-Saw Films)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Mr. Holmes\u003c/em>\u003c/h3>\n\u003ch5>July 17\u003c/h5>\n\u003cp> The sublime, impish and supremely intelligent Ian McKellen delivers the most consistently entertaining performances of any actor alive. In Bill Condon’s poignant adaptation of novelist Mitch Cullin’s A Slight Trick of the Mind, McKellen plays an aged Sherlock Holmes circa 1947, betrayed by his memory and bedeviled by an old unsolved case. This thinking-person’s yarn abounds with pleasures.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10677602\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-400x167.jpg\" alt=\"Still from <i>Villa Tuoma</i> (Photo courtesy SF Jewish Film Festival)\" width=\"400\" height=\"167\" class=\"size-thumbnail wp-image-10677602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-1180x491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015.jpg 1772w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Villa Tuoma\u003c/i> (Photo courtesy SF Jewish Film Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Jewish Film Festival\u003c/h3>\n\u003ch5>July 23-Aug 9\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">The festival does a marvelous job of taking the pulse of the contemporary Jewish experience, from irreverent American indies to unpredictable Israeli tragicomedies, with forays into earnest French dramas, German memory trips, Russian curiosities and documentary portraits of artists and authors. You don’t have to be Jewish, of course, to be interested in the various perspectives on Israel and the Palestinians that always dot the program.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671618\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/paper-towns--400x264.jpg\" alt=\"Scene from <i>Paper Towns</i> \" width=\"400\" height=\"264\" class=\"size-thumbnail wp-image-10671618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/paper-towns--400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/paper-towns-.jpg 750w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Temple Hill Entertainment)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Paper Towns\u003c/em>\u003c/h3>\n\u003ch5>July 24\u003c/h5>\n\u003cp> Last summer’s adaptation of John Green’s young-adult novel, \u003cem>The Fault In Our Stars\u003c/em>, was a solid hit, so Hollywood naturally (or inevitably) serves up another of the author’s teen-oriented tales while school’s out. Green combines adventure, unrequited love and life lessons with intelligence and respect for his audience, a formula that should again prove successful at the multiplexes. More often that not, however, box-office comes down to the chemistry between the leads (Cara Delavingne and Nat Woolf, in this case).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10674013\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT-400x225.jpg\" alt=\"Alamo Drafthouse\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10674013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Alamo Drafthouse)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Look of Silence\u003c/em>\u003c/h3>\n\u003ch5>July 31\u003c/h5>\n\u003cp> Joshua Oppenheimer was nominated for (and should have won) the Academy Award two years ago for his one-of-a-kind exposé of Indonesian mass murderers, \u003cem>The Act of Killing\u003c/em>. The gutsy documentary filmmaker’s powerhouse follow-up centers on the same horrific mid-’60s events but from the perspective of one family of survivors. Courageous, harrowing, unflinching and acutely empathetic, \u003cem>The Look of Silence\u003c/em> is obviously not typical summer movie fare. It is, however, essential viewing.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671762\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-400x200.png\" alt=\"Scene from <i>Straight Outta Compton</i>\" width=\"400\" height=\"200\" class=\"size-thumbnail wp-image-10671762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-400x200.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton.png 980w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Legendary Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Straight Outta Compton\u003c/em>\u003c/h3>\n\u003ch5>Aug. 14\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">My picks, admittedly, have veered away from fun-for-their-own-sake blockbusters toward more thoughtful films that aren’t everyone’s idea of summer entertainment. F. Gary Gray’s dynamic saga of hip-hop pioneers N.W.A. encompasses both poles. From their adolescence in a downtrodden SoCal city to fame, fortune and international influence, N.W.A.’s impassioned calling out of the (white) power structure offers plenty of fist-bumps and grins along with impossible-to-miss social commentary. A popular entertainment about something real and relevant, \u003cem>Straight Outta Compton\u003c/em> is the key film of the summer of 2015. And if you want to call it a superhero movie, Eazy-E won’t object.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "The big screen offers more than comic-book movies, action flicks and apocalyptic adventures.",
"status": "publish",
"parent": 0,
"modified": 1726702845,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1255
},
"headData": {
"title": "A Thinking Person’s Guide to This Year's Summer Movies | KQED",
"description": "The big screen offers more than comic-book movies, action flicks and apocalyptic adventures.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Thinking Person’s Guide to This Year's Summer Movies",
"datePublished": "2015-05-19T12:00:21-07:00",
"dateModified": "2024-09-18T16:40:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10656457/a-thinking-persons-guide-to-this-years-summer-movies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have noticed that summer began weeks ago, at least according to Hollywood’s calendar. Apparently there aren’t enough Fridays between Memorial Day and Labor Day (the definition of summer, once upon a time) for all the comic-book movies, action flicks, apocalyptic adventures and animated frolics. So the studios start pumping their “premier” product to the multiplexes even before kids are out of school.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I feel a bit like a superhero myself, or Mad Max jumping onto a speeding big-rig, leaping into the fray at this point with my own list of anticipated movies and festivals. (Alas, I could never pull off spandex and black leather.)\u003cbr>\n\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671613\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-400x224.jpg\" alt=\"Still from <i>San Andreas</i>\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10671613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/San-Andreas-Movie.jpg 1014w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>San Andreas\u003c/em>\u003c/h3>\n\u003ch5>May 29\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">If you see only one over-the-top, spine-shaking, eardrum-rattling movie this summer, then you have more self-control (or taste) than most Americans. You might as well play the nonplussed Californian and make it this one, though be forewarned that the preposterous and ultimately sentimental story involves L.A. Fire Dept. chopper pilot Dwayne Johnson and his ex-wife (Carla Gugino) rescuing their daughter in San Francisco after The Big One.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671614\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10671614\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-400x267.jpg\" alt=\"Still from <i>The Sandwich Nazi</i> (Courtesy of SF Doc Fest)\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SF-Doc-Fest.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>The Sandwich Nazi\u003c/i> (Courtesy of SF Doc Fest)\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Docfest\u003c/h3>\n\u003ch5>June 4-18\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Vinyl fans should mark their calendars for opening night and Colin Hanks’ wonderful history of Tower Records, \u003cem>All Things Must Pass\u003c/em>. The down-to-earth festival features colorful chunks of hard-to-believe reality, from \u003cem>The Sandwich Nazi\u003c/em> (a profile of a foul-mouthed Vancouver eccentric) to \u003cem>The Desk\u003c/em> (former New York Times interviewer Andrew Goldman’s on-camera recovery from his unceremonious firing). The tempting Bay Area docs include \u003cem>Top Spin\u003c/em> (a staccato saga of aspiring Olympic ping pong players) and the eye-opening, consciousness-raising \u003cem>Three to Infinity: Beyond Two Genders\u003c/em>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671617\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/love-and-mercy-toronto-film-festival-2-400x225.jpg\" alt=\"Still from <i>Love & Mercy<i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10671617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/love-and-mercy-toronto-film-festival-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/love-and-mercy-toronto-film-festival-2.jpg 670w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of River Road Entertainment)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Love & Mercy\u003c/em>\u003c/h3>\n\u003ch5>June 5\u003c/h5>\n\u003cp>The Beach Boys epitomize summer, thanks to the ecstatic genius and acute sensitivity of songwriter Brian Wilson. Bill Pohlad’s remarkable biopic focuses on two distinct periods in Wilson’s life—when the panicked-by-success composer (played by Paul Dano) quit performing in the mid-‘60s to obsessively record Pet Sounds, and two decades later when the psychologically damaged agoraphobe (John Cusack) was under the spell of Dr. Eugene Landy (Paul Giamatti).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10674012\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158-400x225.jpg\" alt=\"Scene from Inside Out\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10674012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/InsideOut1-e1432057761158.jpg 936w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Pixar)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Inside Out\u003c/em>\u003c/h3>\n\u003ch5>June 19\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Last summer marked the first time since 2005 that Pixar didn’t release a new film during the prime box-office season. So it’s been two full years since the Emeryville hitmakers lit up a marquee. Writer-director Pete Docter (\u003cem>Up\u003c/em>) ends the drought with a torrential cascade of mind-blowing images, ideas, gags and insights inspired by the inner workings of an 11-year-old girl’s brain. Transplanted from blissful Minnesota to unwelcoming San Francisco, Riley has a lot to deal with—and mostly does so while she’s dreaming. As has usually been true of Pixar’s best work, \u003cem>Inside Out\u003c/em> is a movie for kids and grownups.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671619\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/testament-of-youth-400x267.jpg\" alt=\"Still from <i>Testament of Youth</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10671619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/testament-of-youth-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/testament-of-youth-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/testament-of-youth.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of BBC Films)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Testament of Youth\u003c/em>\u003c/h3>\n\u003ch5>June 12\u003c/h5>\n\u003cp>Summer movies are the essence of escapism, but no one wants to shut off their brain for four months. (The presidential campaign may test that assertion.) Commemorate The Great War with this powerful rendering of Vera Brittain’s beloved pacifist memoir, starring Alicia Vikander, Kit Harington, Emily Watson and Dominic West. The British television director James Kent steps out with style and pathos; you ought not to step out without a hanky.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671616\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger-400x267.jpg\" alt=\"Still from I Am Michael\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10671616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LArry-Kramer-in-Love-Anger.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>I Am Michael\u003c/i> (Courtesy of Frameline)\u003c/figcaption>\u003c/figure>\n\u003ch3>Frameline\u003c/h3>\n\u003ch5>June 18-28\u003c/h5>\n\u003cp> Queers from all over the West make an annual summer pilgrimage to naturally air-conditioned San Francisco for this smorgasbord of GLBT movies. Isn’t that endorsement enough? The narratives are unusually strong this year, from \u003cem>I Am Michael\u003c/em> (starring James Franco as real life S.F. gay activist-turned-Christian pastor Michael Glatze) on opening night to the twisty lesbian drama Bare on closing night. Tab Hunter, Yvonne Rainer, Larry Kramer and Chuck Holmes are among the many intriguing documentary subjects.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10336858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/batkid_4-400x267.jpg\" alt=\"Scene from Batkid Begins from John Crane Films\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10336858\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Batkid Begins\u003c/i> from John Crane Films \u003ccite>( John Crane Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Batkid Begins\u003c/em>\u003c/h3>\n\u003ch5>June 26\u003c/h5>\n\u003cp> On Nov. 15, 2013, San Francisco transformed into Gotham City as thousands of residents helped Miles Scott fulfill his wish to portray the Caped Crusader and vanquish villains on the street. Dana Nachman’s heartwarming documentary about the local campaign and global phenomenon catalyzed by one young leukemia patient depicts the positive aspects of a digitally connected planet.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671761\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/mr-holmes-400x225.jpg\" alt=\"Sir Ian McKellan in <i>Mr. Holmes</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10671761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/mr-holmes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/mr-holmes.jpg 670w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of See-Saw Films)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Mr. Holmes\u003c/em>\u003c/h3>\n\u003ch5>July 17\u003c/h5>\n\u003cp> The sublime, impish and supremely intelligent Ian McKellen delivers the most consistently entertaining performances of any actor alive. In Bill Condon’s poignant adaptation of novelist Mitch Cullin’s A Slight Trick of the Mind, McKellen plays an aged Sherlock Holmes circa 1947, betrayed by his memory and bedeviled by an old unsolved case. This thinking-person’s yarn abounds with pleasures.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10677602\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-400x167.jpg\" alt=\"Still from <i>Villa Tuoma</i> (Photo courtesy SF Jewish Film Festival)\" width=\"400\" height=\"167\" class=\"size-thumbnail wp-image-10677602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-1180x491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Jewish-Film-Fest-2015.jpg 1772w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Villa Tuoma\u003c/i> (Photo courtesy SF Jewish Film Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Jewish Film Festival\u003c/h3>\n\u003ch5>July 23-Aug 9\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">The festival does a marvelous job of taking the pulse of the contemporary Jewish experience, from irreverent American indies to unpredictable Israeli tragicomedies, with forays into earnest French dramas, German memory trips, Russian curiosities and documentary portraits of artists and authors. You don’t have to be Jewish, of course, to be interested in the various perspectives on Israel and the Palestinians that always dot the program.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671618\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/paper-towns--400x264.jpg\" alt=\"Scene from <i>Paper Towns</i> \" width=\"400\" height=\"264\" class=\"size-thumbnail wp-image-10671618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/paper-towns--400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/paper-towns-.jpg 750w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Temple Hill Entertainment)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Paper Towns\u003c/em>\u003c/h3>\n\u003ch5>July 24\u003c/h5>\n\u003cp> Last summer’s adaptation of John Green’s young-adult novel, \u003cem>The Fault In Our Stars\u003c/em>, was a solid hit, so Hollywood naturally (or inevitably) serves up another of the author’s teen-oriented tales while school’s out. Green combines adventure, unrequited love and life lessons with intelligence and respect for his audience, a formula that should again prove successful at the multiplexes. More often that not, however, box-office comes down to the chemistry between the leads (Cara Delavingne and Nat Woolf, in this case).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10674013\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT-400x225.jpg\" alt=\"Alamo Drafthouse\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10674013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TLOS_FRUIT.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Alamo Drafthouse)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Look of Silence\u003c/em>\u003c/h3>\n\u003ch5>July 31\u003c/h5>\n\u003cp> Joshua Oppenheimer was nominated for (and should have won) the Academy Award two years ago for his one-of-a-kind exposé of Indonesian mass murderers, \u003cem>The Act of Killing\u003c/em>. The gutsy documentary filmmaker’s powerhouse follow-up centers on the same horrific mid-’60s events but from the perspective of one family of survivors. Courageous, harrowing, unflinching and acutely empathetic, \u003cem>The Look of Silence\u003c/em> is obviously not typical summer movie fare. It is, however, essential viewing.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10671762\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-400x200.png\" alt=\"Scene from <i>Straight Outta Compton</i>\" width=\"400\" height=\"200\" class=\"size-thumbnail wp-image-10671762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-400x200.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Straight-Outta-Compton.png 980w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Legendary Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Straight Outta Compton\u003c/em>\u003c/h3>\n\u003ch5>Aug. 14\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">My picks, admittedly, have veered away from fun-for-their-own-sake blockbusters toward more thoughtful films that aren’t everyone’s idea of summer entertainment. F. Gary Gray’s dynamic saga of hip-hop pioneers N.W.A. encompasses both poles. From their adolescence in a downtrodden SoCal city to fame, fortune and international influence, N.W.A.’s impassioned calling out of the (white) power structure offers plenty of fist-bumps and grins along with impossible-to-miss social commentary. A popular entertainment about something real and relevant, \u003cem>Straight Outta Compton\u003c/em> is the key film of the summer of 2015. And if you want to call it a superhero movie, Eazy-E won’t object.\u003c/p>\n\u003c/div>\n\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>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10656457/a-thinking-persons-guide-to-this-years-summer-movies",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10671469",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 2460,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_10749547",
"arts_10656919",
"arts_10752447",
"arts_10729912",
"arts_10797534",
"arts_10729305",
"arts_10731209",
"arts_10705633",
"arts_10705325",
"arts_10694861",
"arts_10681817",
"arts_10656457"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_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_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_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_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"
}
},
"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
}
}
