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_10028818": {
"type": "attachments",
"id": "arts_10028818",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028818",
"found": true
},
"parent": 28818,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sfiff-buzz-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sfiff-buzz-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sfiff-buzz-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sfiff-buzz-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sfiff-buzz-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/sfiff-buzz-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1270689631,
"modified": 1270689631,
"caption": null,
"description": null,
"title": "Buzzing about the S.F. International Film Festival-Micmacs",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028575": {
"type": "attachments",
"id": "arts_10028575",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028575",
"found": true
},
"parent": 28575,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/greenburg-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/greenburg-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/greenburg-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/greenburg-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/greenburg-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/greenburg-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1269545100,
"modified": 1269545100,
"caption": null,
"description": null,
"title": "Greenberg-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028514": {
"type": "attachments",
"id": "arts_10028514",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028514",
"found": true
},
"parent": 28514,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sentence-apart-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sentence-apart-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sentence-apart-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sentence-apart-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sentence-apart-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sentence-apart-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1269382837,
"modified": 1269382837,
"caption": null,
"description": null,
"title": "A Sentence Apart-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028291": {
"type": "attachments",
"id": "arts_10028291",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028291",
"found": true
},
"parent": 28291,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/ajami-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/ajami-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/ajami-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/ajami-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/ajami-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/ajami-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1268344397,
"modified": 1268344397,
"caption": null,
"description": null,
"title": "Ajami-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028267": {
"type": "attachments",
"id": "arts_10028267",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028267",
"found": true
},
"parent": 28267,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/fog-248x1404.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/fog-248x1404-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1268272164,
"modified": 1268272164,
"caption": null,
"description": null,
"title": "Four from the SF Int'l Asian American Film Fest-Fog",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028247": {
"type": "attachments",
"id": "arts_10028247",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028247",
"found": true
},
"parent": 28247,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sfasian-2010-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/sfasian-2010-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1268177905,
"modified": 1268177905,
"caption": null,
"description": null,
"title": "SF Int'l Asian American Film Fest 2010-City of Life and Death",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028185": {
"type": "attachments",
"id": "arts_10028185",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028185",
"found": true
},
"parent": 28185,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/alice-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/alice-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1267833202,
"modified": 1267833202,
"caption": null,
"description": null,
"title": "There's a Method to Tim Burton's Madness-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028182": {
"type": "attachments",
"id": "arts_10028182",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028182",
"found": true
},
"parent": 28182,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/servant-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/servant-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/servant-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/servant-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/servant-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/servant-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1267831378,
"modified": 1267831378,
"caption": null,
"description": null,
"title": "Joseph Losey: Pictures of Provocation at PFA-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028163": {
"type": "attachments",
"id": "arts_10028163",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028163",
"found": true
},
"parent": 28163,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/until-the-light-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/until-the-light-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/until-the-light-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/until-the-light-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/until-the-light-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/until-the-light-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1267750481,
"modified": 1267750481,
"caption": null,
"description": null,
"title": "Until the Light Takes Us: Interview with the Directors-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028140": {
"type": "attachments",
"id": "arts_10028140",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028140",
"found": true
},
"parent": 28140,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/prodigal-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/prodigal-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/prodigal-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/prodigal-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/prodigal-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/prodigal-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1267644550,
"modified": 1267644550,
"caption": null,
"description": null,
"title": "Prodigal Sons-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028039": {
"type": "attachments",
"id": "arts_10028039",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028039",
"found": true
},
"parent": 28039,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/belson-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/belson-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/belson-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/belson-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/belson-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/belson-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1267145516,
"modified": 1267145516,
"caption": null,
"description": null,
"title": "The Bay Area Arrives-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10027966": {
"type": "attachments",
"id": "arts_10027966",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10027966",
"found": true
},
"parent": 27966,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/dorsky-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/dorsky-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/dorsky-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/dorsky-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/dorsky-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/dorsky-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1266870185,
"modified": 1266870185,
"caption": null,
"description": null,
"title": "The short films of Nathaniel Dorsky: better than Avatar-",
"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": {
"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"
},
"hgregory": {
"type": "authors",
"id": "31",
"meta": {
"index": "authors_1716337520",
"id": "31",
"found": true
},
"name": "Harry Gregory",
"firstName": "Harry",
"lastName": "Gregory",
"slug": "hgregory",
"email": "hgregory@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Harry Gregory received his BA in visual communication design from San Francisco State University. He works as a web contractor for KQED Public Radio and is a freelance designer and videographer based out of San Francisco.",
"avatar": "https://secure.gravatar.com/avatar/8f592684f70ab31e0d703f33cc723c16?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Harry Gregory | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/8f592684f70ab31e0d703f33cc723c16?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/8f592684f70ab31e0d703f33cc723c16?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/hgregory"
},
"jkiefer": {
"type": "authors",
"id": "36",
"meta": {
"index": "authors_1716337520",
"id": "36",
"found": true
},
"name": "Jonathan Kiefer",
"firstName": "Jonathan",
"lastName": "Kiefer",
"slug": "jkiefer",
"email": "FAKE_jkiefer@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Look, Jonathan Kiefer doesn't like this any more than you do. But he'd read your little bio blurb if you asked him to, so just humor him, ok? Kiefer lives in San Francisco, but hasn't always. He has been a pop-culture columnist for \u003ci>San Francisco\u003c/i> magazine and an arts-and-culture editor for the \u003ci>Sacramento News & Review\u003c/i>. He still is a contributing editor at \u003ci>Maisonneuve\u003c/i> magazine and a movie critic for publications of various size, shape, disposition and value to humanity. These include, but hopefully are not limited to, \u003ci>SF Weekly\u003c/i>, the \u003ci>San Francisco Chronicle\u003c/i>, Salon, \u003ci>The New Republic\u003c/i>, \u003ci>Film Quarterly\u003c/i> and the \u003ci>New York Times Book Review\u003c/i>. Kiefer lucked into being a contributor to the 2007 Sierra Club Books anthology \u003cb>A Leaky Tent Is a Piece of Paradise: 20 Young Writers on Finding a Place in the Natural World\u003c/b>, and his book about the cinema of the San Francisco Bay Area is forthcoming (no, seriously) from City Lights Books.",
"avatar": "https://secure.gravatar.com/avatar/bef0468ea1d2f2aa212f89baa570e8e3?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Jonathan Kiefer | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/bef0468ea1d2f2aa212f89baa570e8e3?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bef0468ea1d2f2aa212f89baa570e8e3?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jkiefer"
},
"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"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557161
},
"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": 244
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 244
}
},
{
"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_28818": {
"type": "posts",
"id": "arts_28818",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28818",
"score": null,
"sort": [
1270686031000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1270686031,
"format": "standard",
"title": "Buzzing about the S.F. International Film Festival",
"headTitle": "Buzzing about the S.F. International Film Festival | KQED",
"content": "\u003cp>By the time the assorted publications and critics in town publish their previews and picks for the S.F. International Film Festival (April 22-May 6), it may be too late to snap up tickets for some of the one-time-only events. Herewith is a quick hit list of those highlights, augmented with some regular screenings we think will sell out once the word gets out.\u003c/p>\n\u003cp>Enfant terrible-turned-middle-aged standard bearer Jean-Pierre Jeunet (\u003cb>Amelie\u003c/b>) greets the opening-night crowd with \u003cb>Micmacs\u003c/b> (Apr. 22), his latest Rube Goldbergian contraption on fate, war and capitalism. It will open theatrically in mid-June, but not at the Castro and without the director present for a Q&A.\u003c/p>\n\u003cp>Stephin Merritt (of Magnetic Fields) performs his original soundtrack alongside the 1916 silent film, \u003cb>20,000 Leagues Under the Sea\u003c/b> (May 4 at the Castro). The fest’s annual pairing of a contemporary musician or band with a vintage silent is always one of the hottest tickets, so jump on it. Now.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leagues.jpg\" style=\"margin-bottom: 10px\">\u003cbr>20,000 Leagues Under the Sea\u003c/p>\n\u003cp>The symbiotic relationship between music and film is explored in further depth in \u003cb>A Conversation With T Bone Burnett\u003c/b> (Apr. 24 at the Sundance Kabuki). Fresh from his Oscar win for Best Original Song (“The Weary Kind,” written with Ryan Bingham for \u003cb>Crazy Heart\u003c/b>), Burnett discusses (and illustrates, through select clips) his work as a composer and music supervisor (for the Coens’ \u003cb>O Brother, Where Art Thou?\u003c/b>, among many other movies).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Poetry and nature harmonize in the world premiere of \u003cb>The Practice of the Wild\u003c/b> (May 3 and 5 at the Kabuki), John J. Healey’s soul-soothing study of Gary Snyder and Jim Harrison.\u003c/p>\n\u003cp>The Berkeley — and social injustice — connection ratchets the interest in \u003cb>Presumed Guilty\u003c/b> (May 2, 3, 6), Roberto Hernandez and Geoffrey Smith’s infuriating documentary about an innocent young Mexican man trying, with the assistance of a couple of stalwart Northern Californians, to beat a murder rap in the face of a corrupt, cynical and complacent justice system.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/presumed-guilty.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Presumed Guilty\u003c/p>\n\u003cp>The plight of a Palestinian family propels \u003cb>Port of Memory\u003c/b> (Apr. 26, 27, May 5), but moviegoers will leave talking as much about the tenuous line between documentary and fiction as politics and persecution.\u003c/p>\n\u003cp>Joshua Grannell, whose alter ego Peaches Christ reigned over the Bridge’s \u003cb>Midnight Mass\u003c/b> weekend extravaganzas for years, presents the world premiere of his horror comedy, \u003cb>All About Evil\u003c/b> (May 1 at the Castro), complete with a live stage show and myriad guests, including the legendary Mink Stole. With apologies to Bette Davis (take another look at the film’s title), fasten your seatbelts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/all-about-evil.jpg\" style=\"margin-bottom: 10px\">\u003cbr>All About Evil\u003c/p>\n\u003cp>The acclaimed Japanese director Hirokazu Kore-Eda (\u003cb>Afterlife\u003c/b>) makes a rare Bay Area visit with \u003cb>Air Doll\u003c/b> (Apr. 30 and May 2 at the Kabuki).\u003c/p>\n\u003cp>The Midnight Awards (Apr. 24) salutes a pair of twenty- or thirty- something actors and always attracts a young, moneyed, fun-loving crowd. This year’s honorees haven’t been announced yet, but don’t let that stop you from stepping up for tickets.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Co-directors Ricki Stern and Annie Sundberg will take a bow closing night before their riveting doc, \u003cb>Joan Rivers — A Piece of Work\u003c/b>. But the Grande Dame of shameless self-assertion is also slated to be in the house, which makes this — depending on how your blood pressure reacts to her — either a do not miss or a must to avoid.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/joan-rivers.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Joan Rivers — A Piece of Work\u003c/p>\n\u003cp>Once more with feeling: These are by no means the only tough tickets or anticipated shows in the festival, so waste no time scouting the program and scoring tickets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco International Film Festival runs April 22-May 6, 2010. For \u003ca href=\"http://fest10.sffs.org/\">tickets and information\u003c/a> visit fest10.sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 646,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705052210,
"excerpt": "A quick hit list of those highlights we think will sell out once the word gets out about this year's San Francisco International Film Festival.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A quick hit list of those highlights we think will sell out once the word gets out about this year's San Francisco International Film Festival.",
"title": "Buzzing about the S.F. International Film Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Buzzing about the S.F. International Film Festival",
"datePublished": "2010-04-07T17:20:31-07:00",
"dateModified": "2024-01-12T01:36:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "buzzing_about_the_sf_international_film_festival",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/28818/buzzing_about_the_sf_international_film_festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time the assorted publications and critics in town publish their previews and picks for the S.F. International Film Festival (April 22-May 6), it may be too late to snap up tickets for some of the one-time-only events. Herewith is a quick hit list of those highlights, augmented with some regular screenings we think will sell out once the word gets out.\u003c/p>\n\u003cp>Enfant terrible-turned-middle-aged standard bearer Jean-Pierre Jeunet (\u003cb>Amelie\u003c/b>) greets the opening-night crowd with \u003cb>Micmacs\u003c/b> (Apr. 22), his latest Rube Goldbergian contraption on fate, war and capitalism. It will open theatrically in mid-June, but not at the Castro and without the director present for a Q&A.\u003c/p>\n\u003cp>Stephin Merritt (of Magnetic Fields) performs his original soundtrack alongside the 1916 silent film, \u003cb>20,000 Leagues Under the Sea\u003c/b> (May 4 at the Castro). The fest’s annual pairing of a contemporary musician or band with a vintage silent is always one of the hottest tickets, so jump on it. Now.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leagues.jpg\" style=\"margin-bottom: 10px\">\u003cbr>20,000 Leagues Under the Sea\u003c/p>\n\u003cp>The symbiotic relationship between music and film is explored in further depth in \u003cb>A Conversation With T Bone Burnett\u003c/b> (Apr. 24 at the Sundance Kabuki). Fresh from his Oscar win for Best Original Song (“The Weary Kind,” written with Ryan Bingham for \u003cb>Crazy Heart\u003c/b>), Burnett discusses (and illustrates, through select clips) his work as a composer and music supervisor (for the Coens’ \u003cb>O Brother, Where Art Thou?\u003c/b>, among many other movies).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Poetry and nature harmonize in the world premiere of \u003cb>The Practice of the Wild\u003c/b> (May 3 and 5 at the Kabuki), John J. Healey’s soul-soothing study of Gary Snyder and Jim Harrison.\u003c/p>\n\u003cp>The Berkeley — and social injustice — connection ratchets the interest in \u003cb>Presumed Guilty\u003c/b> (May 2, 3, 6), Roberto Hernandez and Geoffrey Smith’s infuriating documentary about an innocent young Mexican man trying, with the assistance of a couple of stalwart Northern Californians, to beat a murder rap in the face of a corrupt, cynical and complacent justice system.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/presumed-guilty.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Presumed Guilty\u003c/p>\n\u003cp>The plight of a Palestinian family propels \u003cb>Port of Memory\u003c/b> (Apr. 26, 27, May 5), but moviegoers will leave talking as much about the tenuous line between documentary and fiction as politics and persecution.\u003c/p>\n\u003cp>Joshua Grannell, whose alter ego Peaches Christ reigned over the Bridge’s \u003cb>Midnight Mass\u003c/b> weekend extravaganzas for years, presents the world premiere of his horror comedy, \u003cb>All About Evil\u003c/b> (May 1 at the Castro), complete with a live stage show and myriad guests, including the legendary Mink Stole. With apologies to Bette Davis (take another look at the film’s title), fasten your seatbelts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/all-about-evil.jpg\" style=\"margin-bottom: 10px\">\u003cbr>All About Evil\u003c/p>\n\u003cp>The acclaimed Japanese director Hirokazu Kore-Eda (\u003cb>Afterlife\u003c/b>) makes a rare Bay Area visit with \u003cb>Air Doll\u003c/b> (Apr. 30 and May 2 at the Kabuki).\u003c/p>\n\u003cp>The Midnight Awards (Apr. 24) salutes a pair of twenty- or thirty- something actors and always attracts a young, moneyed, fun-loving crowd. This year’s honorees haven’t been announced yet, but don’t let that stop you from stepping up for tickets.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Co-directors Ricki Stern and Annie Sundberg will take a bow closing night before their riveting doc, \u003cb>Joan Rivers — A Piece of Work\u003c/b>. But the Grande Dame of shameless self-assertion is also slated to be in the house, which makes this — depending on how your blood pressure reacts to her — either a do not miss or a must to avoid.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/joan-rivers.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Joan Rivers — A Piece of Work\u003c/p>\n\u003cp>Once more with feeling: These are by no means the only tough tickets or anticipated shows in the festival, so waste no time scouting the program and scoring tickets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco International Film Festival runs April 22-May 6, 2010. For \u003ca href=\"http://fest10.sffs.org/\">tickets and information\u003c/a> visit fest10.sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28818/buzzing_about_the_sf_international_film_festival",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10028818",
"label": "arts"
},
"arts_28575": {
"type": "posts",
"id": "arts_28575",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28575",
"score": null,
"sort": [
1269545100000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1269545100,
"format": "standard",
"title": "Greenberg",
"headTitle": "Greenberg | KQED",
"content": "\u003cp>It’s not writer-director Noah Baumbach’s fault if his movie \u003cb>Greenberg\u003c/b>, about a guy named Greenberg, makes me wish for a movie called \u003cb>Zoidberg\u003c/b> about the friendless, incompetent, vaguely Yiddish, attention-craving crustacean physician from \u003cb>Futurama\u003c/b>.\u003c/p>\n\u003cp>In some ways the characters are similar. “Oh, it’s all so complicated, with the flowers and the romance and the lies upon lies,” Zoidberg once lamented, sounding a note that Greenberg might appreciate. Except that Greenberg, as played by a rebarbative and perpetually nettled Ben Stiller, doesn’t seem very capable of appreciation.\u003c/p>\n\u003cp>Having flown in from New York to skulk around the Los Angeles home of his well-to-do brother (Chris Messina), who has gone abroad, the fortyish Roger Greenberg promptly embarks on an irresolute affair with his brother’s twenty-something personal assistant (Greta Gerwig), an aspiring singer. There is cautionary talk of his having just gotten out of the hospital after a nervous breakdown, and of her having just gotten out of a relationship. There is awkward sex. There is hesitation, recrimination. They don’t seem to know what they see in each other, or in themselves.\u003c/p>\n\u003cp>Greenberg keeps touching up his mouth with lip balm, as if to stop himself from saying something awful (it doesn’t work), as if his soul itself were the thing that’s really chapped. He announces that he’s “trying to do nothing for a while,” but still makes time to write cranky letters to corporate and political entities that have offended him, and to brood over his fallow creative ambitions. He used to play music, but now he’s a carpenter. He starts building a doghouse for his brother’s dog, but doesn’t get very far.\u003c/p>\n\u003cp>Greenberg’s way of caring for others tends to consist of inquiring about their opinions of him, with acrimony aforethought. He reconnects with an old flame (Jennifer Jason Leigh, who conceived the story with Baumbach and is his wife), and can’t seem to stand seeing her settle into motherhood. He tracks down an old bandmate (Rhys Ifans), as if only to reiterate and defend his own reasons for bailing on their record deal years ago. Eventually he finds himself at a house party, feeling threatened by a gaggle of blithe little scenesters who are half his age, and using their coke to embolden his aggression. At one point, while accompanying a woman on her way to an abortion, the kindest thing he can think to say is, “It’s your day.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is a fine and self-inverting turn from Stiller, who for once seems not to crave our attention but instead to be burdened by it; and a self-expanding one from Gerwig, who’s made an onscreen habit of involvement with unpromising guys, and has a generously recessive way of suggesting that this movie may actually be about her. Greenberg has some kinship with \u003cb>Annie Hall\u003c/b> — neurotic New York Jew, briefly adrift in L.A., reflects on costs of creative life and past romances, hooks up with beguilingly ditzy would-be singer, boils poignantly and humorously with disappointment — but there’s no mistaking Noah Baumbach for Woody Allen.\u003c/p>\n\u003cp>Baumbach is as perceptive about aimlessness as he is adept at offhandedness. Whether these gifts are ideally complementary may have to remain an open question. I believe we are meant to admire \u003cb>Greenberg\u003c/b> the movie because it doesn’t take pains to redeem Greenberg the man. There is bravery in Baumbach’s presentation, but also a sort of self-congratulatory understatement. Again, I think of that other willfully and endearingly repulsive figure, Zoidberg, who once said, “OK, so you’re nonchalant. Stop rubbing our noses in it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Greenberg\u003c/b> opens in Bay Area theaters on Friday, March 26, 2010.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 659,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052224,
"excerpt": "It's not writer-director Noah Baumbach's fault if his movie \u003cb>Greenberg\u003c/b>, about a guy named Greenberg, makes me wish for a movie called \u003cb>Zoidberg\u003c/b> about the friendless, incompetent, vaguely Yiddish, attention-craving crustacean physician from \u003cb>Futurama\u003c/b>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's not writer-director Noah Baumbach's fault if his movie Greenberg, about a guy named Greenberg, makes me wish for a movie called Zoidberg about the friendless, incompetent, vaguely Yiddish, attention-craving crustacean physician from Futurama.",
"title": "Greenberg | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Greenberg",
"datePublished": "2010-03-25T12:25:00-07:00",
"dateModified": "2024-01-12T01:37:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "greenberg",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/28575/greenberg",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not writer-director Noah Baumbach’s fault if his movie \u003cb>Greenberg\u003c/b>, about a guy named Greenberg, makes me wish for a movie called \u003cb>Zoidberg\u003c/b> about the friendless, incompetent, vaguely Yiddish, attention-craving crustacean physician from \u003cb>Futurama\u003c/b>.\u003c/p>\n\u003cp>In some ways the characters are similar. “Oh, it’s all so complicated, with the flowers and the romance and the lies upon lies,” Zoidberg once lamented, sounding a note that Greenberg might appreciate. Except that Greenberg, as played by a rebarbative and perpetually nettled Ben Stiller, doesn’t seem very capable of appreciation.\u003c/p>\n\u003cp>Having flown in from New York to skulk around the Los Angeles home of his well-to-do brother (Chris Messina), who has gone abroad, the fortyish Roger Greenberg promptly embarks on an irresolute affair with his brother’s twenty-something personal assistant (Greta Gerwig), an aspiring singer. There is cautionary talk of his having just gotten out of the hospital after a nervous breakdown, and of her having just gotten out of a relationship. There is awkward sex. There is hesitation, recrimination. They don’t seem to know what they see in each other, or in themselves.\u003c/p>\n\u003cp>Greenberg keeps touching up his mouth with lip balm, as if to stop himself from saying something awful (it doesn’t work), as if his soul itself were the thing that’s really chapped. He announces that he’s “trying to do nothing for a while,” but still makes time to write cranky letters to corporate and political entities that have offended him, and to brood over his fallow creative ambitions. He used to play music, but now he’s a carpenter. He starts building a doghouse for his brother’s dog, but doesn’t get very far.\u003c/p>\n\u003cp>Greenberg’s way of caring for others tends to consist of inquiring about their opinions of him, with acrimony aforethought. He reconnects with an old flame (Jennifer Jason Leigh, who conceived the story with Baumbach and is his wife), and can’t seem to stand seeing her settle into motherhood. He tracks down an old bandmate (Rhys Ifans), as if only to reiterate and defend his own reasons for bailing on their record deal years ago. Eventually he finds himself at a house party, feeling threatened by a gaggle of blithe little scenesters who are half his age, and using their coke to embolden his aggression. At one point, while accompanying a woman on her way to an abortion, the kindest thing he can think to say is, “It’s your day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is a fine and self-inverting turn from Stiller, who for once seems not to crave our attention but instead to be burdened by it; and a self-expanding one from Gerwig, who’s made an onscreen habit of involvement with unpromising guys, and has a generously recessive way of suggesting that this movie may actually be about her. Greenberg has some kinship with \u003cb>Annie Hall\u003c/b> — neurotic New York Jew, briefly adrift in L.A., reflects on costs of creative life and past romances, hooks up with beguilingly ditzy would-be singer, boils poignantly and humorously with disappointment — but there’s no mistaking Noah Baumbach for Woody Allen.\u003c/p>\n\u003cp>Baumbach is as perceptive about aimlessness as he is adept at offhandedness. Whether these gifts are ideally complementary may have to remain an open question. I believe we are meant to admire \u003cb>Greenberg\u003c/b> the movie because it doesn’t take pains to redeem Greenberg the man. There is bravery in Baumbach’s presentation, but also a sort of self-congratulatory understatement. Again, I think of that other willfully and endearingly repulsive figure, Zoidberg, who once said, “OK, so you’re nonchalant. Stop rubbing our noses in it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Greenberg\u003c/b> opens in Bay Area theaters on Friday, March 26, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28575/greenberg",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028575",
"label": "arts"
},
"arts_28514": {
"type": "posts",
"id": "arts_28514",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28514",
"score": null,
"sort": [
1269382837000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1269382837,
"format": "standard",
"title": "A Sentence Apart",
"headTitle": "A Sentence Apart | KQED",
"content": "\u003cp>The U.S.A. imprisons more people per capita than any country in the world. Behind the 2.4 million prisoners lies an infinite ripple effect of incarceration on the family and community. \u003cstrong>A Sentence Apart\u003c/strong> weaves three intimate stories exploring how families cope and live with a loved one in prison.\u003c/p>\n\u003cp>Tenea is a high school senior with a father in prison and is passionately fighting to avoid the generational curse of incarceration. Linda Williams makes a 20-hour bus trip to visit her daughter Natasha, who is serving a 68-year sentence in prison. Soon after Cheyenne’s dad gets out of jail, she confronts her father about the financial and emotional toll that his incarceration has taken on her. These intimate and moving stories, told with striking images, start to scratch the surface of the complex toll incarceration takes on the world outside of the prison walls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 153,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705052230,
"excerpt": "View Jason Sussberg and Theo Rigby's short film, \u003cstrong>A Sentence Apart\u003c/strong>, a documentary weaving intimate stories of how families cope and live with a loved one in prison.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "View Jason Sussberg and Theo Rigby's short film, A Sentence Apart, a documentary weaving intimate stories of how families cope and live with a loved one in prison.",
"title": "A Sentence Apart | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Sentence Apart",
"datePublished": "2010-03-23T15:20:37-07:00",
"dateModified": "2024-01-12T01:37:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a_sentence_apart",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/trulycashorts/",
"sticky": false,
"path": "/arts/28514/a_sentence_apart",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.S.A. imprisons more people per capita than any country in the world. Behind the 2.4 million prisoners lies an infinite ripple effect of incarceration on the family and community. \u003cstrong>A Sentence Apart\u003c/strong> weaves three intimate stories exploring how families cope and live with a loved one in prison.\u003c/p>\n\u003cp>Tenea is a high school senior with a father in prison and is passionately fighting to avoid the generational curse of incarceration. Linda Williams makes a 20-hour bus trip to visit her daughter Natasha, who is serving a 68-year sentence in prison. Soon after Cheyenne’s dad gets out of jail, she confronts her father about the financial and emotional toll that his incarceration has taken on her. These intimate and moving stories, told with striking images, start to scratch the surface of the complex toll incarceration takes on the world outside of the prison walls.\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/28514/a_sentence_apart",
"authors": [
"92"
],
"categories": [
"arts_74"
],
"tags": [
"arts_345"
],
"featImg": "arts_10028514",
"label": "arts"
},
"arts_28291": {
"type": "posts",
"id": "arts_28291",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28291",
"score": null,
"sort": [
1268344397000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1268344397,
"format": "standard",
"title": "Ajami",
"headTitle": "Ajami | KQED",
"content": "\u003cp>Co-written and co-directed by Israeli Arab Scandar Copti and Israeli Jew Yaron Shani, \u003cb>Ajami\u003c/b> is a momentous achievement of such ambition, scope and force that it makes 95 percent of the films currently playing look like kid flicks. Ringing culture-specific changes on the adolescent crime film, the filmmakers blow a genre pic into a dazzling sociopolitical commentary on the tormented Arab-Jewish relationship. If your pulse isn’t racing just yet, the first five minutes will assuredly do the trick.\u003c/p>\n\u003cp>A drive-by assassination by two guys on a motorcycle leaves a child bleeding to death on the streets of Ajami, a seething mixed neighborhood of Jaffa (near Tel Aviv). Our horrified concern switches in a flash to the intended target, a teenager named Omar who’s on the hook because his uncle shot the Bedouin gang member who was harassing him for protection money. Now desperate for protection himself, Omar turns to Abu Elias, a Christian Arab restaurant owner with connections. (By the end of the film, you’ll be wondering just how far this businessman’s influence extends.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The price that Omar must pay for peace is far more than he has, and he shuffles through various ideas and schemes trying to raise the dough. Seemingly out of options, and accompanied by a too-trusting Palestinian teen who works in Abu Elias’ kitchen and needs cash for his mother’s surgery, Omar takes a major gamble. Underscoring the tension, confusion and desperation that leads to such misguided decisions, the film employs non-professional actors, excellent handheld camerawork and a deviously clever time scheme.\u003c/p>\n\u003cp>The drama plays out, for the first hour or so, among characters on various rungs of the Arab socioeconomic hierarchy. We’re not used to seeing Arab-on-Arab violence, and the exploitation of Arabs by Arabs (Palestinians by Israeli Arabs; Muslims by Christians). On one hand, this internecine activity reflects the same low-level (albeit bloody) turf conflict that drives American crime movies set among dispossessed immigrant or inner city populations. But we’re also meant to understand that this pressure-cooker environment of limited options and scarce resources derives from Israel’s control of the Occupied Territories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>You forget this at your peril, savvy viewer, even though we don’t see or meet any Israeli characters for a good long while. And when they do arrive on the scene, the plot thickens and the film’s themes become even thornier. Much of this derives from Copti and Shani’s brilliant use of shifting points of view and time, with events that we’ve already witnessed subsequently reenacted from another character’s perspective (and fears).\u003c/p>\n\u003cp>\u003c/p>\u003cp>This may sound like a familiar gimmick from \u003cb>Babel\u003c/b>, \u003cb>Traffic\u003c/b> and \u003cb>Reservoir Dogs\u003c/b>. However, the intention here is not to show off the filmmakers’ cleverness or illuminate the role that fate and chance play in our lives. Shani and Copti are using the techniques of storytelling — and the expectations of story watching — to gut-punch us with the direct experience that we make decisions about people in movies, \u003ci>and real life\u003c/i>, based on initial impressions and unreliable information.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> is the third consecutive Israeli film to receive an Academy Award nomination (after \u003cb>Beaufort\u003c/b> and \u003cb>Waltz With Bashir\u003c/b>), which attests, above all, to the tough subjects Israeli filmmakers are tackling with rare, unflinching skill. All three movies intertwine the personal and the political with exceptional dexterity, albeit with widely different aesthetics and approaches. In case it needs to be said: See \u003cb>Ajami\u003c/b> this week with a friend, and plan on a long cup of coffee afterward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> opens Friday, March 12, 2010 at the Embarcadero Center Cinemas in San Francisco, the Albany Twin in Berkeley, and Camera 3 in San Jose.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 643,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052245,
"excerpt": "Israel's stunning Academy Award nominee drills through layers of Arab-Israeli misunderstanding, mistrust and prejudice.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Israel's stunning Academy Award nominee drills through layers of Arab-Israeli misunderstanding, mistrust and prejudice.",
"title": "Ajami | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ajami",
"datePublished": "2010-03-11T13:53:17-08:00",
"dateModified": "2024-01-12T01:37:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ajami",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/28291/ajami",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Co-written and co-directed by Israeli Arab Scandar Copti and Israeli Jew Yaron Shani, \u003cb>Ajami\u003c/b> is a momentous achievement of such ambition, scope and force that it makes 95 percent of the films currently playing look like kid flicks. Ringing culture-specific changes on the adolescent crime film, the filmmakers blow a genre pic into a dazzling sociopolitical commentary on the tormented Arab-Jewish relationship. If your pulse isn’t racing just yet, the first five minutes will assuredly do the trick.\u003c/p>\n\u003cp>A drive-by assassination by two guys on a motorcycle leaves a child bleeding to death on the streets of Ajami, a seething mixed neighborhood of Jaffa (near Tel Aviv). Our horrified concern switches in a flash to the intended target, a teenager named Omar who’s on the hook because his uncle shot the Bedouin gang member who was harassing him for protection money. Now desperate for protection himself, Omar turns to Abu Elias, a Christian Arab restaurant owner with connections. (By the end of the film, you’ll be wondering just how far this businessman’s influence extends.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The price that Omar must pay for peace is far more than he has, and he shuffles through various ideas and schemes trying to raise the dough. Seemingly out of options, and accompanied by a too-trusting Palestinian teen who works in Abu Elias’ kitchen and needs cash for his mother’s surgery, Omar takes a major gamble. Underscoring the tension, confusion and desperation that leads to such misguided decisions, the film employs non-professional actors, excellent handheld camerawork and a deviously clever time scheme.\u003c/p>\n\u003cp>The drama plays out, for the first hour or so, among characters on various rungs of the Arab socioeconomic hierarchy. We’re not used to seeing Arab-on-Arab violence, and the exploitation of Arabs by Arabs (Palestinians by Israeli Arabs; Muslims by Christians). On one hand, this internecine activity reflects the same low-level (albeit bloody) turf conflict that drives American crime movies set among dispossessed immigrant or inner city populations. But we’re also meant to understand that this pressure-cooker environment of limited options and scarce resources derives from Israel’s control of the Occupied Territories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>You forget this at your peril, savvy viewer, even though we don’t see or meet any Israeli characters for a good long while. And when they do arrive on the scene, the plot thickens and the film’s themes become even thornier. Much of this derives from Copti and Shani’s brilliant use of shifting points of view and time, with events that we’ve already witnessed subsequently reenacted from another character’s perspective (and fears).\u003c/p>\n\u003cp>\u003c/p>\u003cp>This may sound like a familiar gimmick from \u003cb>Babel\u003c/b>, \u003cb>Traffic\u003c/b> and \u003cb>Reservoir Dogs\u003c/b>. However, the intention here is not to show off the filmmakers’ cleverness or illuminate the role that fate and chance play in our lives. Shani and Copti are using the techniques of storytelling — and the expectations of story watching — to gut-punch us with the direct experience that we make decisions about people in movies, \u003ci>and real life\u003c/i>, based on initial impressions and unreliable information.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> is the third consecutive Israeli film to receive an Academy Award nomination (after \u003cb>Beaufort\u003c/b> and \u003cb>Waltz With Bashir\u003c/b>), which attests, above all, to the tough subjects Israeli filmmakers are tackling with rare, unflinching skill. All three movies intertwine the personal and the political with exceptional dexterity, albeit with widely different aesthetics and approaches. In case it needs to be said: See \u003cb>Ajami\u003c/b> this week with a friend, and plan on a long cup of coffee afterward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> opens Friday, March 12, 2010 at the Embarcadero Center Cinemas in San Francisco, the Albany Twin in Berkeley, and Camera 3 in San Jose.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28291/ajami",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028291",
"label": "arts"
},
"arts_28267": {
"type": "posts",
"id": "arts_28267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28267",
"score": null,
"sort": [
1268272164000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1268272164,
"format": "standard",
"title": "Four from the SF Int'l Asian American Film Fest",
"headTitle": "Four from the SF Int’l Asian American Film Fest | KQED",
"content": "\u003cp>\u003cb>The San Francisco International Asian American Film Festival\u003c/b> starts tonight and runs through March 21, 2010 at various Bay Area locations (\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=28247\">See Jonathan Kiefer’s overview\u003c/a>). When faced with the massive amount of films to choose from, including a huge range of genres, from Animation to Documentary, Family-friendly to Sci Fi, I decided to take a close look at four of the festival’s 29 narrative features.\u003c/p>\n\u003cp>Writer-director Kit Hui’s feature debut, \u003cb>Fog\u003c/b>, is a fine, subdued film about a man who has lost his memory, and therefore his past and identity. The best thing about the movie is that it’s not a remake of \u003ca href=\"http://www.imdb.com/title/tt0209144/\">Memento\u003c/a>, nor is its approach akin to a melodramatic soap opera. Instead, there’s a refreshing amount of disorientation that we share with the main character, Wai, and a surprising lack of information as to what caused his memory to disappear. The emphasis, rather, is on the protagonist’s mental fuzziness: what was Wai like before, and what will he become now that he’s been given a clean slate? There are moving passages between Wai and people from his past. The pace, at times, halts and stalls, but you quickly figure out that this is Wai’s pace in the world, as he slowly rebuilds his consciousness, one moment at a time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/make-yourself.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Make Yourself at Home\u003c/p>\n\u003cp>\u003cb>Make Yourself at Home\u003c/b> is set in a gorgeous suburb of upstate New York. The basic plot sounds promising: Sookhy, a Korean woman moves to the U.S. for an arranged marriage with a Korean American lawyer. How will she adjust to her new life and culture, and a demanding mother-in-law? Sounds like an interesting premise, yes? Unfortunately, this film, whose alternate title is \u003cb>Fetish\u003c/b>, suffers from an undercooked sense of menace that reads as a sullen and unintended pretentiousness. Uprooted and entirely misplaced in her new home and country, Sookhy suddenly has no morals or conscience to guide her behavior. There is a back story about her ancestry that has something to do with shamanism, but this explanation detracts even further from her inability to make practical decisions. Instead, she becomes enmeshed with an overprivileged couple, neighbors from up the street who spend endless hours undressed in their swimming pool, which is filled with as much ennui as chlorinated water. The director clearly believed that the beauty of the lead actress, Song Hye-Kyo, would carry this aimless, plodding film. It doesn’t.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/slept-with.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The People I’ve Slept With\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quentin Lee returns to the film festival this year with \u003cb>The People I’ve Slept With\u003c/b>, a racy sitcom writ large for the big screen, just not large enough. Of course, LGBT cinema needs to have more diversity on screen than white folks dancing the night away in NYC and LA, but is this the kind of movie that queer Asian Americans have been waiting for? The movie is a one trick pony that rides around in circles, exhausting itself within minutes. Angela, played by the wry Karin Anna Cheung, immediately defines herself as a “slut,” and Lee creates an agonizing montage of Angela and her many partners in various stages of mutual pleasuring. (Yes, the scene is as awful as that euphemism sounds.) Turns out, she gets pregnant (!) and has to figure out who the father is. With the help of her gay Latino best friend, who has commitment problems of his own (shocker!), they set out on a quest for… adulthood, maturity, morality? Who knows? Those concepts have lost their meaning in Lee’s fictional world. Many repetitive scenes show this delightful duo partying to excess, which is supposed to account for their louche bedroom behavior. Instead, the movie depicts this cross-section of twentysomethings as a self-absorbed, spoiled, self-gratifying generation. It was even more troubling to reach the ending, the moral of the story: only please yourself and you’re good. Movies about the apocalypse don’t inspire in me this much dread about the future of our civilization.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/know-it-all.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Like You Know It All\u003c/p>\n\u003cp>Last, and absolutely not least on my list, \u003cb>Like You Know it All\u003c/b>, a delightful, breezy film from South Korea’s Hong Sang-soo. Ku is a successful, young director who has been invited to be a judge at a film festival. We watch Ku from a reality camera’s distance a la \u003ca href=\"http://www.nbc.com/parks-and-recreation/\">\u003cb>Parks and Recreation\u003c/b>\u003c/a>. The camera is always centered on Ku, but also lovingly encompasses the other characters, the setting, including houses and buildings, and the movement of trees and tall grasses. In addition, there are small asides that only the lens appears to notice, like a chartreuse caterpillar inching along a gravel path. The film is suffused with light and sunshine, which is a perfect complement to the overall tone. It’s one of those summery movies that makes you feel nostalgic for a holiday by the beach, and for absent friends and lovers from the past.\u003c/p>\n\u003cp>Ku is a solitary journeyman but is surrounded by people who want to accompany him, at least for a time. This film is surprisingly reminiscent of \u003ca href=\"http://en.wikipedia.org/wiki/%C3%89ric_Rohmer\">Eric Rohmer\u003c/a>‘s films: the documentary feel of eavesdropping on real conversations, the natural lighting and sound design, the accumulation of emotion from scene to scene, and an appropriate catharsis to end the story. There are just as many hangovers pounding inside the heads of Hong Sang-soo’s characters as Quentin Lee’s, the difference is they become acutely aware of the consequences and still hold some capacity for grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 28th annual \u003cb>San Francisco International Asian American Film Festival\u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.asianamericanmedia.org/\">tickets and information\u003c/a> visit asianamericanmedia.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 981,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705052247,
"excerpt": "A look at four narrative films featured in the San Francisco International Asian American Film Festival.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A look at four narrative films featured in the San Francisco International Asian American Film Festival.",
"title": "Four from the SF Int'l Asian American Film Fest | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Four from the SF Int'l Asian American Film Fest",
"datePublished": "2010-03-10T17:49:24-08:00",
"dateModified": "2024-01-12T01:37:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "four_from_the_sf_intl_asian_american_film_fest",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"nprStoryId": "477524441",
"path": "/arts/28267/four_from_the_sf_intl_asian_american_film_fest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>The San Francisco International Asian American Film Festival\u003c/b> starts tonight and runs through March 21, 2010 at various Bay Area locations (\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=28247\">See Jonathan Kiefer’s overview\u003c/a>). When faced with the massive amount of films to choose from, including a huge range of genres, from Animation to Documentary, Family-friendly to Sci Fi, I decided to take a close look at four of the festival’s 29 narrative features.\u003c/p>\n\u003cp>Writer-director Kit Hui’s feature debut, \u003cb>Fog\u003c/b>, is a fine, subdued film about a man who has lost his memory, and therefore his past and identity. The best thing about the movie is that it’s not a remake of \u003ca href=\"http://www.imdb.com/title/tt0209144/\">Memento\u003c/a>, nor is its approach akin to a melodramatic soap opera. Instead, there’s a refreshing amount of disorientation that we share with the main character, Wai, and a surprising lack of information as to what caused his memory to disappear. The emphasis, rather, is on the protagonist’s mental fuzziness: what was Wai like before, and what will he become now that he’s been given a clean slate? There are moving passages between Wai and people from his past. The pace, at times, halts and stalls, but you quickly figure out that this is Wai’s pace in the world, as he slowly rebuilds his consciousness, one moment at a time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/make-yourself.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Make Yourself at Home\u003c/p>\n\u003cp>\u003cb>Make Yourself at Home\u003c/b> is set in a gorgeous suburb of upstate New York. The basic plot sounds promising: Sookhy, a Korean woman moves to the U.S. for an arranged marriage with a Korean American lawyer. How will she adjust to her new life and culture, and a demanding mother-in-law? Sounds like an interesting premise, yes? Unfortunately, this film, whose alternate title is \u003cb>Fetish\u003c/b>, suffers from an undercooked sense of menace that reads as a sullen and unintended pretentiousness. Uprooted and entirely misplaced in her new home and country, Sookhy suddenly has no morals or conscience to guide her behavior. There is a back story about her ancestry that has something to do with shamanism, but this explanation detracts even further from her inability to make practical decisions. Instead, she becomes enmeshed with an overprivileged couple, neighbors from up the street who spend endless hours undressed in their swimming pool, which is filled with as much ennui as chlorinated water. The director clearly believed that the beauty of the lead actress, Song Hye-Kyo, would carry this aimless, plodding film. It doesn’t.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/slept-with.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The People I’ve Slept With\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>Quentin Lee returns to the film festival this year with \u003cb>The People I’ve Slept With\u003c/b>, a racy sitcom writ large for the big screen, just not large enough. Of course, LGBT cinema needs to have more diversity on screen than white folks dancing the night away in NYC and LA, but is this the kind of movie that queer Asian Americans have been waiting for? The movie is a one trick pony that rides around in circles, exhausting itself within minutes. Angela, played by the wry Karin Anna Cheung, immediately defines herself as a “slut,” and Lee creates an agonizing montage of Angela and her many partners in various stages of mutual pleasuring. (Yes, the scene is as awful as that euphemism sounds.) Turns out, she gets pregnant (!) and has to figure out who the father is. With the help of her gay Latino best friend, who has commitment problems of his own (shocker!), they set out on a quest for… adulthood, maturity, morality? Who knows? Those concepts have lost their meaning in Lee’s fictional world. Many repetitive scenes show this delightful duo partying to excess, which is supposed to account for their louche bedroom behavior. Instead, the movie depicts this cross-section of twentysomethings as a self-absorbed, spoiled, self-gratifying generation. It was even more troubling to reach the ending, the moral of the story: only please yourself and you’re good. Movies about the apocalypse don’t inspire in me this much dread about the future of our civilization.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/know-it-all.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Like You Know It All\u003c/p>\n\u003cp>Last, and absolutely not least on my list, \u003cb>Like You Know it All\u003c/b>, a delightful, breezy film from South Korea’s Hong Sang-soo. Ku is a successful, young director who has been invited to be a judge at a film festival. We watch Ku from a reality camera’s distance a la \u003ca href=\"http://www.nbc.com/parks-and-recreation/\">\u003cb>Parks and Recreation\u003c/b>\u003c/a>. The camera is always centered on Ku, but also lovingly encompasses the other characters, the setting, including houses and buildings, and the movement of trees and tall grasses. In addition, there are small asides that only the lens appears to notice, like a chartreuse caterpillar inching along a gravel path. The film is suffused with light and sunshine, which is a perfect complement to the overall tone. It’s one of those summery movies that makes you feel nostalgic for a holiday by the beach, and for absent friends and lovers from the past.\u003c/p>\n\u003cp>Ku is a solitary journeyman but is surrounded by people who want to accompany him, at least for a time. This film is surprisingly reminiscent of \u003ca href=\"http://en.wikipedia.org/wiki/%C3%89ric_Rohmer\">Eric Rohmer\u003c/a>‘s films: the documentary feel of eavesdropping on real conversations, the natural lighting and sound design, the accumulation of emotion from scene to scene, and an appropriate catharsis to end the story. There are just as many hangovers pounding inside the heads of Hong Sang-soo’s characters as Quentin Lee’s, the difference is they become acutely aware of the consequences and still hold some capacity for grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 28th annual \u003cb>San Francisco International Asian American Film Festival\u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.asianamericanmedia.org/\">tickets and information\u003c/a> visit asianamericanmedia.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28267/four_from_the_sf_intl_asian_american_film_fest",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028267",
"label": "arts"
},
"arts_28247": {
"type": "posts",
"id": "arts_28247",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28247",
"score": null,
"sort": [
1268177905000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1268177905,
"format": "standard",
"title": "SF Int'l Asian American Film Fest 2010",
"headTitle": "SF Int’l Asian American Film Fest 2010 | KQED",
"content": "\u003cp>If you imagine the venn diagram of identity signifiers for the 28th annual San Francisco International Asian American Film Festival, you might get the impression that this beloved Spring-inaugurating feast of cinema is rather parochial in scope.\u003c/p>\n\u003cp>Not so. For one thing, just the word “Asian” alone is inherently multitudinous. For another, the festival’s ongoing accumulation of nuance can’t help but be broadening. For instance, look closely at this year’s program, just above the cursive graffiti “iloveyouiloveyouilove” in its cover photograph, at that overlaid column of telling statistics. From these you will discern that SFIAAFF has screened 1,998 films over the course of 28 years, and that this year’s crop of 109, culled from 900 prospects, includes 65 shorts, 29 narrative features and 15 documentary features. You will learn that the number of miles traveled by festival organizers to scout these films was 41,950.\u003c/p>\n\u003cp>You won’t learn from the program, but will learn from me and can verify on the Internet that 41,950 miles is more than five times the length of the Earth’s diameter. So if you’re looking for a word to describe the range of SFIAFF offerings, it’s safe to say that “wide” would be a good one.\u003c/p>\n\u003cp>Highlights? There are many. Lu Chan’s epic about the 1937 \u003ca href=\"http://en.wikipedia.org/wiki/Nanking_Massacre\">Nanking Massacre\u003c/a>, \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1019\">\u003cb>City of Life and Death\u003c/b>\u003c/a>, is one. Likewise parts four and five of Yang Fudong’s much lauded \u003ca href=\"http://findarticles.com/p/articles/mi_m0268/is_1_42/ai_108691799/\">\u003cb>Seven Intellectuals in a Bamboo Forest\u003c/b>\u003c/a>, a five-part series loosely adapting and updating a 3rd-century parable about a group of Taoist scholars who deliberately withdrew themselves from a noisy and corrupt society.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/seven-intellectuals.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seven Intellectuals in a Bamboo Forest\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A re-introduction to the rather disturbed titular seductress in South Korean cult director Kim Ki-young?s classic 1960 domestic-drama shocker \u003cb>The Housemaid\u003c/b> should be cause for celebration. And certainly the work-in-progress screening of a film about local author Amy Tan’s SF Opera adaptation of her novel \u003cb>The Bonesetter’s Daughter\u003c/b> should generate some buzz.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/housemaid.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The Housemaid\u003c/p>\n\u003cp>This year’s focus on Filipino and Filipino-American cinema includes a retrospective of four films (1974’s \u003cb>You Have Been Weighed and Found Wanting\u003c/b>, 1975’s \u003cb>Manila in the Claws of Neon\u003c/b>, 1976’s \u003cb>Insiang\u003c/b> and 1985’s \u003cb>Bayan Ko\u003c/b>) from the Marcos-averse queer melodrama maven \u003ca href=\"http://en.wikipedia.org/wiki/Lino_Brocka\">Lino Brocka\u003c/a>, the first Filipino director ever to get into Cannes — and have his citizenship revoked for social critique. And hell, I’d even count the free \u003ca href=\"http://festival.asianamericanmedia.org/2010/interactive/sfiaaff-iphone-app/\">SFIAFF iPhone app\u003c/a>, for its comprehensiveness and good design, as a festival highlight too.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/manila-claws.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Manila in the Claws of Neon\u003c/p>\n\u003cp>But if for some strange reason you’re still not convinced of the astonishing breadth and dynamism of 2010 SFIAAFF offerings, perhaps you should start with a new film from South Korea called \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1053\">\u003cb>Like You Know It All\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The 28th annual San Francisco International Asian American Film Festival \u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://asianamericanmedia.org\">tickets and information\u003c/a>, visit asianamericanmedia.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 541,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052248,
"excerpt": "We know that Spring is near when the San Francisco International Asian American Film Festival begins its latest edition. The festival will screen 109 films over the next 10 days. What better way to herald the season than to spend it in the dark trying to see as many as possible?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "We know that Spring is near when the San Francisco International Asian American Film Festival begins its latest edition. The festival will screen 109 films over the next 10 days. What better way to herald the season than to spend it in the dark trying to see as many as possible?",
"title": "SF Int'l Asian American Film Fest 2010 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Int'l Asian American Film Fest 2010",
"datePublished": "2010-03-09T15:38:25-08:00",
"dateModified": "2024-01-12T01:37:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sf_intl_asian_american_film_fest_2010",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"path": "/arts/28247/sf_intl_asian_american_film_fest_2010",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you imagine the venn diagram of identity signifiers for the 28th annual San Francisco International Asian American Film Festival, you might get the impression that this beloved Spring-inaugurating feast of cinema is rather parochial in scope.\u003c/p>\n\u003cp>Not so. For one thing, just the word “Asian” alone is inherently multitudinous. For another, the festival’s ongoing accumulation of nuance can’t help but be broadening. For instance, look closely at this year’s program, just above the cursive graffiti “iloveyouiloveyouilove” in its cover photograph, at that overlaid column of telling statistics. From these you will discern that SFIAAFF has screened 1,998 films over the course of 28 years, and that this year’s crop of 109, culled from 900 prospects, includes 65 shorts, 29 narrative features and 15 documentary features. You will learn that the number of miles traveled by festival organizers to scout these films was 41,950.\u003c/p>\n\u003cp>You won’t learn from the program, but will learn from me and can verify on the Internet that 41,950 miles is more than five times the length of the Earth’s diameter. So if you’re looking for a word to describe the range of SFIAFF offerings, it’s safe to say that “wide” would be a good one.\u003c/p>\n\u003cp>Highlights? There are many. Lu Chan’s epic about the 1937 \u003ca href=\"http://en.wikipedia.org/wiki/Nanking_Massacre\">Nanking Massacre\u003c/a>, \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1019\">\u003cb>City of Life and Death\u003c/b>\u003c/a>, is one. Likewise parts four and five of Yang Fudong’s much lauded \u003ca href=\"http://findarticles.com/p/articles/mi_m0268/is_1_42/ai_108691799/\">\u003cb>Seven Intellectuals in a Bamboo Forest\u003c/b>\u003c/a>, a five-part series loosely adapting and updating a 3rd-century parable about a group of Taoist scholars who deliberately withdrew themselves from a noisy and corrupt society.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/seven-intellectuals.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seven Intellectuals in a Bamboo Forest\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>A re-introduction to the rather disturbed titular seductress in South Korean cult director Kim Ki-young?s classic 1960 domestic-drama shocker \u003cb>The Housemaid\u003c/b> should be cause for celebration. And certainly the work-in-progress screening of a film about local author Amy Tan’s SF Opera adaptation of her novel \u003cb>The Bonesetter’s Daughter\u003c/b> should generate some buzz.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/housemaid.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The Housemaid\u003c/p>\n\u003cp>This year’s focus on Filipino and Filipino-American cinema includes a retrospective of four films (1974’s \u003cb>You Have Been Weighed and Found Wanting\u003c/b>, 1975’s \u003cb>Manila in the Claws of Neon\u003c/b>, 1976’s \u003cb>Insiang\u003c/b> and 1985’s \u003cb>Bayan Ko\u003c/b>) from the Marcos-averse queer melodrama maven \u003ca href=\"http://en.wikipedia.org/wiki/Lino_Brocka\">Lino Brocka\u003c/a>, the first Filipino director ever to get into Cannes — and have his citizenship revoked for social critique. And hell, I’d even count the free \u003ca href=\"http://festival.asianamericanmedia.org/2010/interactive/sfiaaff-iphone-app/\">SFIAFF iPhone app\u003c/a>, for its comprehensiveness and good design, as a festival highlight too.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/manila-claws.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Manila in the Claws of Neon\u003c/p>\n\u003cp>But if for some strange reason you’re still not convinced of the astonishing breadth and dynamism of 2010 SFIAAFF offerings, perhaps you should start with a new film from South Korea called \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1053\">\u003cb>Like You Know It All\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The 28th annual San Francisco International Asian American Film Festival \u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://asianamericanmedia.org\">tickets and information\u003c/a>, visit asianamericanmedia.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28247/sf_intl_asian_american_film_fest_2010",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028247",
"label": "arts"
},
"arts_28185": {
"type": "posts",
"id": "arts_28185",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28185",
"score": null,
"sort": [
1267833202000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1267833202,
"format": "standard",
"title": "There's a Method to Tim Burton's Madness",
"headTitle": "There’s a Method to Tim Burton’s Madness | KQED",
"content": "\u003cp>Tim Burton and \u003cb>Alice in Wonderland\u003c/b> were made for each other. Tim Burton was born to make 3D, and Lewis Carroll’s \u003cb>Alice in Wonderland\u003c/b> was born to go 3D.\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is the original portal story. To go through a portal means you have to go somewhere infinitely more magical than real life, to a place where your mind is blown. This Wonderland blows our mind and its three-dimensionality electrifies our senses in the way Oz did, back when something as simple as switching to color was breathtaking.\u003c/p>\n\u003cp>More recently, \u003cb>Avatar\u003c/b> is the IT film for those seeking an immersive experience. Critics have gushed about Avatar’s intoxicating visuals and its game-changing technology. In \u003cb>Avatar\u003c/b>, (another portal film) 3D is not used simply for 3D’s sake. It’s integral.\u003c/p>\n\u003cp>Burton’s psychotropic \u003cb>Alice\u003c/b> is very much an \u003cb> Avatar\u003c/b> for the elementary school set. With its gorgeous integration of animation and live action, Wonderland is permeated with lush, exotic vegetation, strange birds and far-out critters (a rocking-horse humming bird is one of countless fanciful flash details). Like \u003cb>Avatar’s\u003c/b> paraplegic Jake Scully, Alice, a young woman in Victorian society, is constrained by real life. Wonderland, like Pandora, is her escape hatch.\u003c/p>\n\u003cp>While this Wonderland has all the iconic characters — the white rabbit, the dormouse, the Cheshire Cat, the story itself has been three-dimensionalized. Lewis Carroll’s 1865 novel and the forgettable 1951 animated Disney film were a stringing together of episodic adventures without plot, character development or emotional depth. Alice 2010 is more satisfying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burton’s \u003cb>Alice\u003c/b> blends Carroll’s two books — \u003cb> Alice’s Adventures in Wonderland\u003c/b> and \u003cb>Through the Looking-Glass\u003c/b> — and expands on the poem, “Jabberwocky” to give the story structure. But it’s the three-dimensionalized Alice — a fabulous performance by Mia Wasikowska — that gives the film its greater substance.\u003c/p>\n\u003cp>Johnny Depp is more than superficially wacko as the Mad Hatter. He becomes Alice’s friend, a scarecrow to her Dorothy. Beneath his dazzlingly bizarre garb, the Hatter has a skittish kindness. In a kingdom ruled by the impetuous, decapitation-happy Red Queen, The Hatter is literally scared out of his wits.\u003c/p>\n\u003cp>As the Red Queen, Helena Bonham Carter is a sheer delight. Her giant bulbous head is one of the film’s best special effects. Like most everything here, the queen’s big head is not just for show; it accentuates her monarchistic brattiness. Her absurd commands and predilections (like using live animals as furniture) would be creepy if they weren’t so funny. \u003c/p>\n\u003cp>In Linda Woolverton’s screenplay (she wrote screenplays for \u003cb>The Lion King\u003c/b> and \u003cb>Beauty and the Beast\u003c/b>), Alice has returned to Wonderland at the age of 19, having first visited at age 7. It’s such a smart twist; At 19, the character isn’t merely a precocious kid rescuing the Mad Hatter and battling the vicious Jabberwocky; at 19 she can consider her own childhood.\u003c/p>\n\u003cp>As it turns out, this place is actually called Underland — at 7, Alice had mistakenly called it Wonderland. It’s a tidbit that reflects so much about the perceptions of children and adults.\u003c/p>\n\u003cp>There are a million rites of passage action-adventure films where boys do battle, gain glory and come of age. Alice’s growth cuts both ways. At first, the inhabitants of Wonderland are not convinced she is the right Alice. They’ve been waiting for the return of Alice to fulfill a prophecy, to do battle with the jabberwocky and to dethrone the evil Red Queen. But this Alice is reluctant; she is “hardly Alice.” Recalling the 7 year old, the Mad Hatter tells Alice, “You were much more muchier. You’ve lost your muchness.” Which is in fact, the heart-wrenching truth about growing up isn’t it?\u003c/p>\n\u003cp>Tim Burton’s multi-dimensional \u003cb>Alice in Wonderland\u003c/b> is robust enough to entertain big and small, those who’ve drunk the potion and those who’ve eaten the cake. This is an Alice that fully realizes the story’s true potential. It has much muchness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is now playing in several Bay Area theaters including the Castro Theater, where it plays through April 1, 2010.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 741,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705052253,
"excerpt": "Burton's psychotropic \u003cb>Alice\u003c/b> is very much an \u003cb> Avatar\u003c/b> for the elementary school set.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Burton's psychotropic Alice is very much an Avatar for the elementary school set.",
"title": "There's a Method to Tim Burton's Madness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There's a Method to Tim Burton's Madness",
"datePublished": "2010-03-05T15:53:22-08:00",
"dateModified": "2024-01-12T01:37:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "theres_a_method_to_tim_burtons_madness",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/28185/theres_a_method_to_tim_burtons_madness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Burton and \u003cb>Alice in Wonderland\u003c/b> were made for each other. Tim Burton was born to make 3D, and Lewis Carroll’s \u003cb>Alice in Wonderland\u003c/b> was born to go 3D.\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is the original portal story. To go through a portal means you have to go somewhere infinitely more magical than real life, to a place where your mind is blown. This Wonderland blows our mind and its three-dimensionality electrifies our senses in the way Oz did, back when something as simple as switching to color was breathtaking.\u003c/p>\n\u003cp>More recently, \u003cb>Avatar\u003c/b> is the IT film for those seeking an immersive experience. Critics have gushed about Avatar’s intoxicating visuals and its game-changing technology. In \u003cb>Avatar\u003c/b>, (another portal film) 3D is not used simply for 3D’s sake. It’s integral.\u003c/p>\n\u003cp>Burton’s psychotropic \u003cb>Alice\u003c/b> is very much an \u003cb> Avatar\u003c/b> for the elementary school set. With its gorgeous integration of animation and live action, Wonderland is permeated with lush, exotic vegetation, strange birds and far-out critters (a rocking-horse humming bird is one of countless fanciful flash details). Like \u003cb>Avatar’s\u003c/b> paraplegic Jake Scully, Alice, a young woman in Victorian society, is constrained by real life. Wonderland, like Pandora, is her escape hatch.\u003c/p>\n\u003cp>While this Wonderland has all the iconic characters — the white rabbit, the dormouse, the Cheshire Cat, the story itself has been three-dimensionalized. Lewis Carroll’s 1865 novel and the forgettable 1951 animated Disney film were a stringing together of episodic adventures without plot, character development or emotional depth. Alice 2010 is more satisfying.\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>Burton’s \u003cb>Alice\u003c/b> blends Carroll’s two books — \u003cb> Alice’s Adventures in Wonderland\u003c/b> and \u003cb>Through the Looking-Glass\u003c/b> — and expands on the poem, “Jabberwocky” to give the story structure. But it’s the three-dimensionalized Alice — a fabulous performance by Mia Wasikowska — that gives the film its greater substance.\u003c/p>\n\u003cp>Johnny Depp is more than superficially wacko as the Mad Hatter. He becomes Alice’s friend, a scarecrow to her Dorothy. Beneath his dazzlingly bizarre garb, the Hatter has a skittish kindness. In a kingdom ruled by the impetuous, decapitation-happy Red Queen, The Hatter is literally scared out of his wits.\u003c/p>\n\u003cp>As the Red Queen, Helena Bonham Carter is a sheer delight. Her giant bulbous head is one of the film’s best special effects. Like most everything here, the queen’s big head is not just for show; it accentuates her monarchistic brattiness. Her absurd commands and predilections (like using live animals as furniture) would be creepy if they weren’t so funny. \u003c/p>\n\u003cp>In Linda Woolverton’s screenplay (she wrote screenplays for \u003cb>The Lion King\u003c/b> and \u003cb>Beauty and the Beast\u003c/b>), Alice has returned to Wonderland at the age of 19, having first visited at age 7. It’s such a smart twist; At 19, the character isn’t merely a precocious kid rescuing the Mad Hatter and battling the vicious Jabberwocky; at 19 she can consider her own childhood.\u003c/p>\n\u003cp>As it turns out, this place is actually called Underland — at 7, Alice had mistakenly called it Wonderland. It’s a tidbit that reflects so much about the perceptions of children and adults.\u003c/p>\n\u003cp>There are a million rites of passage action-adventure films where boys do battle, gain glory and come of age. Alice’s growth cuts both ways. At first, the inhabitants of Wonderland are not convinced she is the right Alice. They’ve been waiting for the return of Alice to fulfill a prophecy, to do battle with the jabberwocky and to dethrone the evil Red Queen. But this Alice is reluctant; she is “hardly Alice.” Recalling the 7 year old, the Mad Hatter tells Alice, “You were much more muchier. You’ve lost your muchness.” Which is in fact, the heart-wrenching truth about growing up isn’t it?\u003c/p>\n\u003cp>Tim Burton’s multi-dimensional \u003cb>Alice in Wonderland\u003c/b> is robust enough to entertain big and small, those who’ve drunk the potion and those who’ve eaten the cake. This is an Alice that fully realizes the story’s true potential. It has much muchness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is now playing in several Bay Area theaters including the Castro Theater, where it plays through April 1, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28185/theres_a_method_to_tim_burtons_madness",
"authors": [
"144"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028185",
"label": "arts"
},
"arts_28182": {
"type": "posts",
"id": "arts_28182",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28182",
"score": null,
"sort": [
1267831378000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1267831378,
"format": "standard",
"title": "Joseph Losey: Pictures of Provocation at PFA",
"headTitle": "Joseph Losey: Pictures of Provocation at PFA | KQED",
"content": "\u003cp>Exile does strange things to a film director. Good things, sometimes. You hear a lot about the Europeans — the likes of Billy Wilder, Max Ophuls, Otto Preminger, Douglas Sirk — who blessed us with their presence when the going in Hitler’s hellhole got tough. But what of those occasional Americans who had good cause to skip out for points east?\u003c/p>\n\u003cp>Joseph Losey is an interesting case. At his best, he had a way with outsiderhood. The Wisconsin-born, ivy-educated director made his way through theater into for-hire work at MGM, then sovereignty at RKO, and eventually — perhaps inevitably — banishment from Hollywood altogether. Why inevitably? Having come up during the Depression, Losey had liked the looks of communism for a time, but maybe it also had something to do with his oft-reported gift for estranging friends.\u003c/p>\n\u003cp>With an improbably strong remake of Fritz Lang’s masterpiece, \u003cb>M\u003c/b> in 1951, Losey showed prescient intuition about the mechanics of alienation and hysteria: The story concerns a compulsive killer of children and, what is evidently worse, the mob madness by which he’s subdued. (It would be a while yet before the cave full of radioactive children in Losey’s \u003cb>These Are the Damned\u003c/b>; meanwhile, a few more genre-elevating films with cat-like camera moves and titular variations of the word “prowl.”)\u003c/p>\n\u003cp>That same year, Losey blew off his HUAC summons, got blacklisted, and skedaddled to England. It turned out to be a productive move — not least due to some highly fruitful recurring collaborations, with actor Dirk Bogarde, playwright Harold Pinter, and jazz composer John Dankworth. Before long Losey had adeptly picked the scab of Britain’s upper crust. The films became more personal and confined, unveiling volatile states of mind through highly controlled environments. They were peppered with pervy power games and vehement little class-war duets. Probably the pinnacle of Losey’s artful sadism is the Pinter-scripted Bogarde showcase \u003cb>The Servant\u003c/b> of 1963, but it still depends who you ask.\u003c/p>\n\u003cp>Losey’s subsequent ventures into arty ’60s chic and parodies thereof would become historic head-scratchers. The comic-book-based spy-thriller spoof \u003cb>Modesty Blaise\u003c/b> (1966), with Bogarde, Monica Vitti, and Terence Stamp, has been widely reviled, but John Waters adores it. And what about Liz Taylor and Richard Burton doing Tennessee Williams — was Losey absolutely the wrong director for such a thing, or does his presence tip it over into something somehow appallingly right? It’s not called \u003cb>Boom!\u003c/b> (1968) for nothing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the later years, consensus says, Losey had a sort of public petering out. He became boring, then perked up, then relocated to France, dipped briefly back into the theater, returned to England, kept working and died: like many an emigre, a disappointed romantic.\u003c/p>\n\u003cp>\u003cb>Joseph Losey: Pictures of Provocation\u003c/b> runs through April 16, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"?http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 503,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052255,
"excerpt": "After blowing off his HUAC summons, film director Joseph Losey skedaddled to England and ended up collaborating with Dirk Bogarde and Harold Pinter. A retrospective of his films runs at Pacific Film Archive through mid-April.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After blowing off his HUAC summons, film director Joseph Losey skedaddled to England and ended up collaborating with Dirk Bogarde and Harold Pinter. A retrospective of his films runs at Pacific Film Archive through mid-April.",
"title": "Joseph Losey: Pictures of Provocation at PFA | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Joseph Losey: Pictures of Provocation at PFA",
"datePublished": "2010-03-05T15:22:58-08:00",
"dateModified": "2024-01-12T01:37:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "joseph_losey_pictures_of_provocation_at_pfa",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"sticky": false,
"path": "/arts/28182/joseph_losey_pictures_of_provocation_at_pfa",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exile does strange things to a film director. Good things, sometimes. You hear a lot about the Europeans — the likes of Billy Wilder, Max Ophuls, Otto Preminger, Douglas Sirk — who blessed us with their presence when the going in Hitler’s hellhole got tough. But what of those occasional Americans who had good cause to skip out for points east?\u003c/p>\n\u003cp>Joseph Losey is an interesting case. At his best, he had a way with outsiderhood. The Wisconsin-born, ivy-educated director made his way through theater into for-hire work at MGM, then sovereignty at RKO, and eventually — perhaps inevitably — banishment from Hollywood altogether. Why inevitably? Having come up during the Depression, Losey had liked the looks of communism for a time, but maybe it also had something to do with his oft-reported gift for estranging friends.\u003c/p>\n\u003cp>With an improbably strong remake of Fritz Lang’s masterpiece, \u003cb>M\u003c/b> in 1951, Losey showed prescient intuition about the mechanics of alienation and hysteria: The story concerns a compulsive killer of children and, what is evidently worse, the mob madness by which he’s subdued. (It would be a while yet before the cave full of radioactive children in Losey’s \u003cb>These Are the Damned\u003c/b>; meanwhile, a few more genre-elevating films with cat-like camera moves and titular variations of the word “prowl.”)\u003c/p>\n\u003cp>That same year, Losey blew off his HUAC summons, got blacklisted, and skedaddled to England. It turned out to be a productive move — not least due to some highly fruitful recurring collaborations, with actor Dirk Bogarde, playwright Harold Pinter, and jazz composer John Dankworth. Before long Losey had adeptly picked the scab of Britain’s upper crust. The films became more personal and confined, unveiling volatile states of mind through highly controlled environments. They were peppered with pervy power games and vehement little class-war duets. Probably the pinnacle of Losey’s artful sadism is the Pinter-scripted Bogarde showcase \u003cb>The Servant\u003c/b> of 1963, but it still depends who you ask.\u003c/p>\n\u003cp>Losey’s subsequent ventures into arty ’60s chic and parodies thereof would become historic head-scratchers. The comic-book-based spy-thriller spoof \u003cb>Modesty Blaise\u003c/b> (1966), with Bogarde, Monica Vitti, and Terence Stamp, has been widely reviled, but John Waters adores it. And what about Liz Taylor and Richard Burton doing Tennessee Williams — was Losey absolutely the wrong director for such a thing, or does his presence tip it over into something somehow appallingly right? It’s not called \u003cb>Boom!\u003c/b> (1968) for nothing.\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>In the later years, consensus says, Losey had a sort of public petering out. He became boring, then perked up, then relocated to France, dipped briefly back into the theater, returned to England, kept working and died: like many an emigre, a disappointed romantic.\u003c/p>\n\u003cp>\u003cb>Joseph Losey: Pictures of Provocation\u003c/b> runs through April 16, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"?http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28182/joseph_losey_pictures_of_provocation_at_pfa",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028182",
"label": "arts"
},
"arts_28163": {
"type": "posts",
"id": "arts_28163",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28163",
"score": null,
"sort": [
1267750481000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1267750481,
"format": "standard",
"title": "Until the Light Takes Us: Interview with the Directors",
"headTitle": "Until the Light Takes Us: Interview with the Directors | KQED",
"content": "\u003cp>\u003cb>Until The Light Takes Us\u003c/b>, the first feature film about the rise and fall of Norwegian black metal, is back for another round of U.S. screenings. The film uncovers the truths and ideologies that formed the foundation for the infamous black metal scene — a movement that triggered an onslaught of murders, suicides, arson, and a media firestorm that framed the scene as a Satanist uprising.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I checked in with directors Aaron Aites and Audrey Ewell to find out what it was like to travel to Norway and spend time with these artists who have garnered a cult-like status over the years.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What inspired you to pack up and move to Norway for two years to work on this documentary?\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: First of all, we didn’t know that we were going to be there for two years when we left! Neither of us had ever worked on a documentary before in any capacity (we both come from a narrative film background). We were inspired not only by the subject itself (which we find fascinating) but also the chance to examine several postmodern ideas including simulation and simulacra and the effects of the severing of a culture’s narrative thread in a kind of “practical” way, if that word applies.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What sets your documentary apart from other works (print or video) that attempt to describe the same story?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: One basic thing is that no other project has all of the key players involved, telling their own stories. These other projects usually rely on people who weren’t actually involved talking about what happened. There are books, shorts, fan videos and parts of larger projects that deal with the subject, but this is truly the only feature length film about it. This isn’t an A-Z retelling of the history of events. This is a portrait of key players set within that world. The larger story of black metal is told through their individual stories, and through the story of their friendship.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Describe what it was like to get everyone to open up to you. They had already experienced much manipulation of the truth by the media over the crimes attributed to Norwegian black metal followers.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: We gave them the opportunity to tell their story in their words without narration or “experts” to explain what they meant or what their actions meant. The whole idea of an expert in this context is so ludicrous. I think some of them saw it as an opportunity to set the record straight. Some were wary at first, which is completely understandable given their history with the hysterical media reports that were coming out during the heyday of the scene. Varg Vikernes [black metal artist and convicted murderer and arsonist — started one-man band, Burzum, and played with the band Mayhem] was the most difficult in that way, but his reticence is totally understandable. He was initially (and for eight months) completely opposed to taking part in the film. He was in jail, so we were writing letters back and forth and he just absolutely refused. I think he actually had a very bad experience in feeling misrepresented in the past and it was a huge obstacle. When he finally did agree to participate in the film, he was very open, but it took us a long time to get to that point. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your take on the popularity of black metal among the art world? In the film, Gylve Nagell’s [member of the influential band Darkthrone] reactions to one particular art opening focused on black metal made it seem like he felt out of place, but he does cooperate and lend his name and image to some of these shows.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: I think that the art world is a bit enamored with the scene for the same reason it’s fascinated with outsider art like \u003ca href=\"http://en.wikipedia.org/wiki/Henry_Darger\">Henry Darger\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Howard_Finster\">Howard Finster\u003c/a>. To make an over-simplification, when the “Anti-Establishment” people are in fact “The Establishment” as they are in the art world, these kind of complete outsiders serve as the new “Anti-Establishment.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: And to set the record straight, Gylve did not give his explicit blessing to be a part of Bjarne Melgaard’s [visual artist whose black metal inspired art was shown in the film] exhibit. What you see is our footage of Gylve, which Bjarne used. The film ends on a note of Gylve re-contextualized, trapped. I think this visually conveys a truth and reveals the tragedy of a misunderstanding and the identity this imposes, in a way that Gylve would respect. He hasn’t seen the film, by the way. We periodically ask him if he’d like to, and he ignores us on that. He told us before we started filming that he’d never watch the film, that we could get whatever we needed to tell the story we wanted to tell, and not to worry about his reaction because he wouldn’t see it. But I wish he would.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your reaction to criticism about the neo-Nazi remarks and Aryan pride within the black metal scene?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: First of all, what neo-Nazism? No, seriously, everyone talks about this like it’s a fact. For the record: the Norwegian black metal scene is not a neo-Nazi movement. It never has been. We understand that everyone is against neo-Nazism and wants everyone else to know that. We are against neo-Nazism. We are also against murder…what these guys were reacting against was the decimation of their culture by the blank corporate global culture which was changing their landscape, hearkening back to a past wave of cultural imperialism. Listen, there are like two Jewish people in Norway, and they’re lovely. There are about 500 Burger Kings, with more popping up every day. Varg talks about shooting out the windows of a McDonalds as his first act of violence. He talks about Christians razing pagan holy sites and erecting churches on top of them. The connection is there. Varg said some stupid stuff when he was in jail.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: And I hear he still is. We try to show in the movie how he got to that point. We don’t want to play into the sensationalism, we don’t want to paint the rest of the scene with that brush, and we don’t want to give him a platform for talking about it either.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Are there any rumors not cleared up in the film that you would like to settle? When I first started hearing about all of these murders and church burnings, I remember there were far-fetched stories of cannibalism, pagan rituals, necklaces made of bones, and all sorts of crazy stuff.\u003c/i>\u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: Actually, from what I’ve been told, the story of Euronymous [Øystein Aarseth – former guitarist of Mayhem] making a necklace out of some shards of Dead’s [Per Yngve Ohlin — former vocalist of Mayhem who committed suicide] skull is true.\u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: Listen, we can’t destroy the whole mythos. Gylve still gets letters from kids around the world, dressed up in corpse paint, and standing in front of a — wait for it — Norwegian flag. That is an epic fail of comprehension.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Until the Light Takes Us\u003c/b> is screening at \u003ca href=\"http://www.rialtocinemas.com/index.php?location=elmwood\">Rialto Cinemas\u003c/a> in Berkeley starting Friday, March 5.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1292,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705052256,
"excerpt": "\u003cb>Until The Light Takes Us\u003c/b>, the first feature film about the rise and fall of Norwegian black metal, is back for another round of U.S. screenings. I checked in with directors Aaron Aites and Audrey Ewell to find out what it was like to travel to Norway and spend time with these artists who have garnered an enigmatic, cult-like status over the years.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Until The Light Takes Us, the first feature film about the rise and fall of Norwegian black metal, is back for another round of U.S. screenings. I checked in with directors Aaron Aites and Audrey Ewell to find out what it was like to travel to Norway and spend time with these artists who have garnered an enigmatic, cult-like status over the years.",
"title": "Until the Light Takes Us: Interview with the Directors | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Until the Light Takes Us: Interview with the Directors",
"datePublished": "2010-03-04T16:54:41-08:00",
"dateModified": "2024-01-12T01:37:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "until_the_light_takes_us_interview_with_the_directors",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"sticky": false,
"path": "/arts/28163/until_the_light_takes_us_interview_with_the_directors",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Until The Light Takes Us\u003c/b>, the first feature film about the rise and fall of Norwegian black metal, is back for another round of U.S. screenings. The film uncovers the truths and ideologies that formed the foundation for the infamous black metal scene — a movement that triggered an onslaught of murders, suicides, arson, and a media firestorm that framed the scene as a Satanist uprising.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I checked in with directors Aaron Aites and Audrey Ewell to find out what it was like to travel to Norway and spend time with these artists who have garnered a cult-like status over the years.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What inspired you to pack up and move to Norway for two years to work on this documentary?\u003c/i>\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>\u003cb>AA\u003c/b>: First of all, we didn’t know that we were going to be there for two years when we left! Neither of us had ever worked on a documentary before in any capacity (we both come from a narrative film background). We were inspired not only by the subject itself (which we find fascinating) but also the chance to examine several postmodern ideas including simulation and simulacra and the effects of the severing of a culture’s narrative thread in a kind of “practical” way, if that word applies.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What sets your documentary apart from other works (print or video) that attempt to describe the same story?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: One basic thing is that no other project has all of the key players involved, telling their own stories. These other projects usually rely on people who weren’t actually involved talking about what happened. There are books, shorts, fan videos and parts of larger projects that deal with the subject, but this is truly the only feature length film about it. This isn’t an A-Z retelling of the history of events. This is a portrait of key players set within that world. The larger story of black metal is told through their individual stories, and through the story of their friendship.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Describe what it was like to get everyone to open up to you. They had already experienced much manipulation of the truth by the media over the crimes attributed to Norwegian black metal followers.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: We gave them the opportunity to tell their story in their words without narration or “experts” to explain what they meant or what their actions meant. The whole idea of an expert in this context is so ludicrous. I think some of them saw it as an opportunity to set the record straight. Some were wary at first, which is completely understandable given their history with the hysterical media reports that were coming out during the heyday of the scene. Varg Vikernes [black metal artist and convicted murderer and arsonist — started one-man band, Burzum, and played with the band Mayhem] was the most difficult in that way, but his reticence is totally understandable. He was initially (and for eight months) completely opposed to taking part in the film. He was in jail, so we were writing letters back and forth and he just absolutely refused. I think he actually had a very bad experience in feeling misrepresented in the past and it was a huge obstacle. When he finally did agree to participate in the film, he was very open, but it took us a long time to get to that point. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your take on the popularity of black metal among the art world? In the film, Gylve Nagell’s [member of the influential band Darkthrone] reactions to one particular art opening focused on black metal made it seem like he felt out of place, but he does cooperate and lend his name and image to some of these shows.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: I think that the art world is a bit enamored with the scene for the same reason it’s fascinated with outsider art like \u003ca href=\"http://en.wikipedia.org/wiki/Henry_Darger\">Henry Darger\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Howard_Finster\">Howard Finster\u003c/a>. To make an over-simplification, when the “Anti-Establishment” people are in fact “The Establishment” as they are in the art world, these kind of complete outsiders serve as the new “Anti-Establishment.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: And to set the record straight, Gylve did not give his explicit blessing to be a part of Bjarne Melgaard’s [visual artist whose black metal inspired art was shown in the film] exhibit. What you see is our footage of Gylve, which Bjarne used. The film ends on a note of Gylve re-contextualized, trapped. I think this visually conveys a truth and reveals the tragedy of a misunderstanding and the identity this imposes, in a way that Gylve would respect. He hasn’t seen the film, by the way. We periodically ask him if he’d like to, and he ignores us on that. He told us before we started filming that he’d never watch the film, that we could get whatever we needed to tell the story we wanted to tell, and not to worry about his reaction because he wouldn’t see it. But I wish he would.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your reaction to criticism about the neo-Nazi remarks and Aryan pride within the black metal scene?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: First of all, what neo-Nazism? No, seriously, everyone talks about this like it’s a fact. For the record: the Norwegian black metal scene is not a neo-Nazi movement. It never has been. We understand that everyone is against neo-Nazism and wants everyone else to know that. We are against neo-Nazism. We are also against murder…what these guys were reacting against was the decimation of their culture by the blank corporate global culture which was changing their landscape, hearkening back to a past wave of cultural imperialism. Listen, there are like two Jewish people in Norway, and they’re lovely. There are about 500 Burger Kings, with more popping up every day. Varg talks about shooting out the windows of a McDonalds as his first act of violence. He talks about Christians razing pagan holy sites and erecting churches on top of them. The connection is there. Varg said some stupid stuff when he was in jail.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: And I hear he still is. We try to show in the movie how he got to that point. We don’t want to play into the sensationalism, we don’t want to paint the rest of the scene with that brush, and we don’t want to give him a platform for talking about it either.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Are there any rumors not cleared up in the film that you would like to settle? When I first started hearing about all of these murders and church burnings, I remember there were far-fetched stories of cannibalism, pagan rituals, necklaces made of bones, and all sorts of crazy stuff.\u003c/i>\u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: Actually, from what I’ve been told, the story of Euronymous [Øystein Aarseth – former guitarist of Mayhem] making a necklace out of some shards of Dead’s [Per Yngve Ohlin — former vocalist of Mayhem who committed suicide] skull is true.\u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: Listen, we can’t destroy the whole mythos. Gylve still gets letters from kids around the world, dressed up in corpse paint, and standing in front of a — wait for it — Norwegian flag. That is an epic fail of comprehension.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Until the Light Takes Us\u003c/b> is screening at \u003ca href=\"http://www.rialtocinemas.com/index.php?location=elmwood\">Rialto Cinemas\u003c/a> in Berkeley starting Friday, March 5.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28163/until_the_light_takes_us_interview_with_the_directors",
"authors": [
"31"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028163",
"label": "arts"
},
"arts_28140": {
"type": "posts",
"id": "arts_28140",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28140",
"score": null,
"sort": [
1267644550000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1267644550,
"format": "standard",
"title": "Prodigal Sons",
"headTitle": "Prodigal Sons | KQED",
"content": "\u003cp>I hope you appreciate — or will, after you see the film — the restraint I displayed in my one-line teaser of this review. “The fraught reunion of two adult siblings propels Kimberly Reed’s alternately heart-warming and harrowing documentary.” Kimberly Reed’s unpredictable and terrific first-person documentary, \u003cb>Prodigal Sons\u003c/b>, has several sensational grabbers that beg to be trumpeted to prospective moviegoers. Gender switching! Mental illness! Hollywood superstar connections! Yet I resisted the overwhelming temptation to lure you in with cheap theatrics.\u003c/p>\n\u003cp>While eliciting an easy chuckle or ratcheting your blood pressure, I just illustrated the dilemma that Reed deftly dances with and around. Blending confession and reservation, she invites and insinuates us into her bizarrely atypical yet readily recognizable world, rotating continuously before our eyes from self-assurance to ambivalence to palpable discomfort. It requires exceptional footwork to be so intimate, revealing and vulnerable without exploiting one’s self, or one’s family. But she pulls it off, and we never feel like voyeuristic vultures or, conversely, that we’ve been excluded from crucial situations or events.\u003c/p>\n\u003cp>A male-to-female transsexual who made her transition during the decade she lived in San Francisco, Reed opens the film by announcing her intention to return to Helena, Montana, for her 20th high school reunion, and to reconnect with her problematic adopted older brother. We enlightened (and condescending) big-city types expect Kim’s arrival to prompt an entertaining brouhaha among Big Sky rednecks who remember her as Paul, the movie-star-blond quarterback.\u003c/p>\n\u003cp>In fact, her old friends are a pretty cool bunch, and take Kim’s appearance (in both senses of the word) smoothly in stride. It’s hard not to grin through this whole sequence at the clear evidence, amid reactionary debates about “don’t ask, don’t tell” and all the other conservative and mainstream-media efforts to deny progressive impulses and initiatives, how far the country has evolved in the last three decades.\u003c/p>\n\u003cp>Unexpectedly, Kim’s sexual orientation is overshadowed by brother Marc’s old grudges and erratic behavior. A loose cannon throughout his youth, or so we gather, he suffered a brain injury in a car accident when he was 21 (although resulting complications didn’t start surfacing for a few years). A couple of operations solved some problems and created others, and we increasingly feel trepidation whenever he’s in the room (or the frame).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> is a relentlessly involving film with barely a moment of downtime between shocks (and aftershocks). If one demands drama and revelation and confrontation from a documentary, this film delivers in spades. GLBT viewers will relate on a whole other level, reveling in a strong male-to-female character with a steadfast girlfriend and a supportive mother and younger gay brother. In most families, a transsexual child would be the odd duck, if not the black sheep. In this clan, Marc willfully and aggressively claims the title.\u003c/p>\n\u003cp>One doesn’t walk out of \u003cb>Prodigal Sons\u003c/b> more informed or better educated, or moved to take action or change a behavioral pattern. You may find yourself reminded, though, that it takes courage to acknowledge and accept one’s self, and often entails an ongoing effort. Not just reminded, in fact, but inspired. And that’s pretty sensational.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> opens Friday, March 5, 2010 at the Lumiere Theatre in San Francisco and the Shattuck Cinema in Berkeley. Filmmaker Kimberly Reed will be on hand to answer questions after the 7 & 9:45pm shows at the Lumiere on Friday and Saturday; and after the 5:25pm show at the Shattuck on Sunday, followed by an informal get-together at the adjacent Lot 68 bar.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 640,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052259,
"excerpt": "The fraught reunion of two adult siblings propels Kimberly Reed's alternately heart-warming and harrowing documentary.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The fraught reunion of two adult siblings propels Kimberly Reed's alternately heart-warming and harrowing documentary.",
"title": "Prodigal Sons | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prodigal Sons",
"datePublished": "2010-03-03T11:29:10-08:00",
"dateModified": "2024-01-12T01:37:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "prodigal_sons",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/28140/prodigal_sons",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I hope you appreciate — or will, after you see the film — the restraint I displayed in my one-line teaser of this review. “The fraught reunion of two adult siblings propels Kimberly Reed’s alternately heart-warming and harrowing documentary.” Kimberly Reed’s unpredictable and terrific first-person documentary, \u003cb>Prodigal Sons\u003c/b>, has several sensational grabbers that beg to be trumpeted to prospective moviegoers. Gender switching! Mental illness! Hollywood superstar connections! Yet I resisted the overwhelming temptation to lure you in with cheap theatrics.\u003c/p>\n\u003cp>While eliciting an easy chuckle or ratcheting your blood pressure, I just illustrated the dilemma that Reed deftly dances with and around. Blending confession and reservation, she invites and insinuates us into her bizarrely atypical yet readily recognizable world, rotating continuously before our eyes from self-assurance to ambivalence to palpable discomfort. It requires exceptional footwork to be so intimate, revealing and vulnerable without exploiting one’s self, or one’s family. But she pulls it off, and we never feel like voyeuristic vultures or, conversely, that we’ve been excluded from crucial situations or events.\u003c/p>\n\u003cp>A male-to-female transsexual who made her transition during the decade she lived in San Francisco, Reed opens the film by announcing her intention to return to Helena, Montana, for her 20th high school reunion, and to reconnect with her problematic adopted older brother. We enlightened (and condescending) big-city types expect Kim’s arrival to prompt an entertaining brouhaha among Big Sky rednecks who remember her as Paul, the movie-star-blond quarterback.\u003c/p>\n\u003cp>In fact, her old friends are a pretty cool bunch, and take Kim’s appearance (in both senses of the word) smoothly in stride. It’s hard not to grin through this whole sequence at the clear evidence, amid reactionary debates about “don’t ask, don’t tell” and all the other conservative and mainstream-media efforts to deny progressive impulses and initiatives, how far the country has evolved in the last three decades.\u003c/p>\n\u003cp>Unexpectedly, Kim’s sexual orientation is overshadowed by brother Marc’s old grudges and erratic behavior. A loose cannon throughout his youth, or so we gather, he suffered a brain injury in a car accident when he was 21 (although resulting complications didn’t start surfacing for a few years). A couple of operations solved some problems and created others, and we increasingly feel trepidation whenever he’s in the room (or the frame).\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>\u003cb>Prodigal Sons\u003c/b> is a relentlessly involving film with barely a moment of downtime between shocks (and aftershocks). If one demands drama and revelation and confrontation from a documentary, this film delivers in spades. GLBT viewers will relate on a whole other level, reveling in a strong male-to-female character with a steadfast girlfriend and a supportive mother and younger gay brother. In most families, a transsexual child would be the odd duck, if not the black sheep. In this clan, Marc willfully and aggressively claims the title.\u003c/p>\n\u003cp>One doesn’t walk out of \u003cb>Prodigal Sons\u003c/b> more informed or better educated, or moved to take action or change a behavioral pattern. You may find yourself reminded, though, that it takes courage to acknowledge and accept one’s self, and often entails an ongoing effort. Not just reminded, in fact, but inspired. And that’s pretty sensational.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> opens Friday, March 5, 2010 at the Lumiere Theatre in San Francisco and the Shattuck Cinema in Berkeley. Filmmaker Kimberly Reed will be on hand to answer questions after the 7 & 9:45pm shows at the Lumiere on Friday and Saturday; and after the 5:25pm show at the Shattuck on Sunday, followed by an informal get-together at the adjacent Lot 68 bar.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28140/prodigal_sons",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10028140",
"label": "arts"
},
"arts_28039": {
"type": "posts",
"id": "arts_28039",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28039",
"score": null,
"sort": [
1267145516000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1267145516,
"format": "standard",
"title": "The Bay Area Arrives",
"headTitle": "The Bay Area Arrives | KQED",
"content": "\u003cp>The other day I popped a Jordan Belson DVD into my laptop. I wanted to compare his fluvial, prismatic motion-picture abstractions of nearly 50 years ago with the latest in Macintosh screen savers.\u003c/p>\n\u003cp>Now, before you accuse me of sacrilege, dear two or three Bay Area experimental film purists who are reading this, ask yourselves how many DVDs of Jordan Belson films you own. And let me explain that Belson’s work stands up to my screen savers pretty damn well. For starters, you can tell a person made it, and you can tell that person was Belson.\u003c/p>\n\u003cp>That’s assuming you know who he is. Belson’s work isn’t widely seen nowadays, save for 1983’s \u003cb>The Right Stuff\u003c/b>, whose special effects he made. With that one, I always imagine director Philip Kaufman, then Belson’s North Beach neighbor, telling himself, “OK, for these scenes of flying up out of the atmosphere and into the real mystery, I want something a little \u003cb>2001\u003c/b>, but maybe a little \u003cb>Vertigo\u003c/b> too. Oh, I’ve got it: Belson!”\u003c/p>\n\u003cp>Of course the real reason to own a Belson DVD is not to fully experience the work. It is to let the artist know, through a fraction of a royalty check, that the work endures. For the whole fully experiencing thing, even my mega-huge flat-screen TV isn’t good enough. You know what is? Yes: The Phyllis Wattis Theater at SFMOMA.\u003c/p>\n\u003cp>And, in particular, tonight’s section of the ongoing \u003cb>75 Years in the Dark: A Partial History of Film at SFMOMA\u003c/b> program, which is called \u003cb>The Bay Area Arrives\u003c/b>. It’s called that because it’s a survey of the heavy hitters of the local avant-garde, who quite clearly had something special going on here in the middle of the last century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evening was curated by film historian Scott MacDonald, who has assembled two essential books on that subject: \u003cb>Art in Cinema: Documents Toward a History of the Film Society\u003c/b>, and \u003cb>Canyon Cinema: The Life and Times of an Independent Film Distributor\u003c/b>. So it should be a good way to see how Belson’s jewel-like \u003cb>Allures\u003c/b>, with its whirling spirographs and flickering diamonds, compares not just with my screen saver but also with the contemporaneous work of his peers.\u003c/p>\n\u003cp>Like the other hand-made moving color fields in Harry Smith’s \u003cb>No. 2 and No. 3\u003c/b>. Or to the deliberately disorienting, warped-lens viewpoint of Sidney Peterson’s \u003cb>The Lead Shoes\u003c/b>. Or the readymade surrealism of a detached San Francisco Victorian house facade in James Broughton’s \u003cb>Mother’s Day\u003c/b>. Or Vincent Price reading Robert Louis Stevenson in Frank Stauffacher’s \u003cb>Notes on the Port of St. Francis\u003c/b>.\u003c/p>\n\u003cp>It’ll also be a good way to see how these filmmakers’ experiments have stood the test of time. Belson might gag to think of his vivid mystical mists as the progenitors of so many digital lava lamps. Or he might get a kick out of it. Hard to say. But in the consecrated space of a world-class modern art museum, among the exploratory visions of like-minded associates, Belson’s bright lights should really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Bay Area Arrives\u003c/b> at 7:00pm, Thursday, February 25, 2010, at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">tickets and information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 576,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052267,
"excerpt": "See classics of Bay Area experimental cinema TONIGHT at SFMOMA.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "See classics of Bay Area experimental cinema TONIGHT at SFMOMA.",
"title": "The Bay Area Arrives | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Bay Area Arrives",
"datePublished": "2010-02-25T16:51:56-08:00",
"dateModified": "2024-01-12T01:37:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_bay_area_arrives",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/28039/the_bay_area_arrives",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The other day I popped a Jordan Belson DVD into my laptop. I wanted to compare his fluvial, prismatic motion-picture abstractions of nearly 50 years ago with the latest in Macintosh screen savers.\u003c/p>\n\u003cp>Now, before you accuse me of sacrilege, dear two or three Bay Area experimental film purists who are reading this, ask yourselves how many DVDs of Jordan Belson films you own. And let me explain that Belson’s work stands up to my screen savers pretty damn well. For starters, you can tell a person made it, and you can tell that person was Belson.\u003c/p>\n\u003cp>That’s assuming you know who he is. Belson’s work isn’t widely seen nowadays, save for 1983’s \u003cb>The Right Stuff\u003c/b>, whose special effects he made. With that one, I always imagine director Philip Kaufman, then Belson’s North Beach neighbor, telling himself, “OK, for these scenes of flying up out of the atmosphere and into the real mystery, I want something a little \u003cb>2001\u003c/b>, but maybe a little \u003cb>Vertigo\u003c/b> too. Oh, I’ve got it: Belson!”\u003c/p>\n\u003cp>Of course the real reason to own a Belson DVD is not to fully experience the work. It is to let the artist know, through a fraction of a royalty check, that the work endures. For the whole fully experiencing thing, even my mega-huge flat-screen TV isn’t good enough. You know what is? Yes: The Phyllis Wattis Theater at SFMOMA.\u003c/p>\n\u003cp>And, in particular, tonight’s section of the ongoing \u003cb>75 Years in the Dark: A Partial History of Film at SFMOMA\u003c/b> program, which is called \u003cb>The Bay Area Arrives\u003c/b>. It’s called that because it’s a survey of the heavy hitters of the local avant-garde, who quite clearly had something special going on here in the middle of the last century.\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 evening was curated by film historian Scott MacDonald, who has assembled two essential books on that subject: \u003cb>Art in Cinema: Documents Toward a History of the Film Society\u003c/b>, and \u003cb>Canyon Cinema: The Life and Times of an Independent Film Distributor\u003c/b>. So it should be a good way to see how Belson’s jewel-like \u003cb>Allures\u003c/b>, with its whirling spirographs and flickering diamonds, compares not just with my screen saver but also with the contemporaneous work of his peers.\u003c/p>\n\u003cp>Like the other hand-made moving color fields in Harry Smith’s \u003cb>No. 2 and No. 3\u003c/b>. Or to the deliberately disorienting, warped-lens viewpoint of Sidney Peterson’s \u003cb>The Lead Shoes\u003c/b>. Or the readymade surrealism of a detached San Francisco Victorian house facade in James Broughton’s \u003cb>Mother’s Day\u003c/b>. Or Vincent Price reading Robert Louis Stevenson in Frank Stauffacher’s \u003cb>Notes on the Port of St. Francis\u003c/b>.\u003c/p>\n\u003cp>It’ll also be a good way to see how these filmmakers’ experiments have stood the test of time. Belson might gag to think of his vivid mystical mists as the progenitors of so many digital lava lamps. Or he might get a kick out of it. Hard to say. But in the consecrated space of a world-class modern art museum, among the exploratory visions of like-minded associates, Belson’s bright lights should really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Bay Area Arrives\u003c/b> at 7:00pm, Thursday, February 25, 2010, at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">tickets and information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28039/the_bay_area_arrives",
"authors": [
"128"
],
"categories": [
"arts_74"
],
"tags": [
"arts_991",
"arts_596"
],
"featImg": "arts_10028039",
"label": "arts"
},
"arts_27966": {
"type": "posts",
"id": "arts_27966",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "27966",
"score": null,
"sort": [
1266870185000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1266870185,
"format": "standard",
"title": "The short films of Nathaniel Dorsky: better than Avatar",
"headTitle": "The short films of Nathaniel Dorsky: better than Avatar | KQED",
"content": "\u003cp>“Viewing a film has tremendous mystical implications,” Nathaniel Dorsky writes in his 2003 lecture-cum-monograph \u003cb>Devotional Cinema\u003c/b>. “It can be, at its best, a way of approaching and manifesting the ineffable. This respect for the ineffable is an essential aspect of devotion.”\u003c/p>\n\u003cp>That’s as good an introduction as any to Dorsky’s own work, and a relief, as his are precisely the sort of ephemeral, experimental short subjects for which attempts at written elucidation seem — well, if not futile, then certainly at risk of disrespecting the ineffable. And maybe that’s all you really need to know before going to see the San Francisco artist demonstrate his secular visual liturgy in four installments at the Pacific Film Archive this evening.\u003c/p>\n\u003cp>Introspective is a word that occurs a lot in conversations about Dorsky, and so it should given his films’ solitude-reinforcing silence, but what about his way, too, of looking so intently \u003ci>out\u003c/i> at the world, and at its abundance? What about his prioritization of peripheral mysteries?\u003c/p>\n\u003cp>By so mindfully observing the undulations of natural and manmade textures that inspire and apparently surround him, Dorsky somehow achieves translucence and opacity at the same time. It’s weird, and beautiful. Sometimes there is the feeling of allowing your eyes to relax their focus, and the enthralling new way of seeing that results. Often there is a feeling of closeness to what’s being seen. It can be intimate.\u003c/p>\n\u003cp>“If a film fails to take advantage of the self-existing magic of things, if it uses objects merely to mean something,” he writes, “it has thrown away one of its great possibilities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This must at least partly explain how all those blossom blasts and gleaming water beads and cloud-smudged celestial objects, so alertly enshrined in the matte hues of a now-extinct film stock, could still seem so vital and so much truer than, for instance, anything you’ll see in \u003cb>Avatar\u003c/b>.\u003c/p>\n\u003cp>Dorsky showed a couple of these films, \u003cb>Sarabande\u003c/b> and \u003cb>Winter\u003c/b>, at SFMOMA at around this time last year. Discussing them afterward, he described, among other things, the San Francisco winter, an “odd, long dissolve between autumn and spring” that took him 20 years to like and presumably at least one more to make a 22-minute movie about. So that’s devotion.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dorsky-compline.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its title suggests, \u003cb>Compline\u003c/b>, one of this evening’s two premieres, could be said to be seeking a kind of closure. But it’s no surprise that for Dorsky, closure can be an opening. The other premiere is called \u003cb>Aubade\u003c/b>, and he only finished it just recently.\u003c/p>\n\u003cp>“An aubade,” Dorsky reminds us, “is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Four by Nathaniel Dorsky\u003c/b>, with the filmmaker in person, Tuesday February 23, 2010, 7:30pm at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 545,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052272,
"excerpt": "Local experimental filmmaker Nathanial Dorsky screens four films at Pacific Film Archive TONIGHT, two of them premieres. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Local experimental filmmaker Nathanial Dorsky screens four films at Pacific Film Archive TONIGHT, two of them premieres. ",
"title": "The short films of Nathaniel Dorsky: better than Avatar | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The short films of Nathaniel Dorsky: better than Avatar",
"datePublished": "2010-02-22T12:23:05-08:00",
"dateModified": "2024-01-12T01:37:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_short_films_of_nathaniel_dorsky_better_than_avatar",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/27966/the_short_films_of_nathaniel_dorsky_better_than_avatar",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Viewing a film has tremendous mystical implications,” Nathaniel Dorsky writes in his 2003 lecture-cum-monograph \u003cb>Devotional Cinema\u003c/b>. “It can be, at its best, a way of approaching and manifesting the ineffable. This respect for the ineffable is an essential aspect of devotion.”\u003c/p>\n\u003cp>That’s as good an introduction as any to Dorsky’s own work, and a relief, as his are precisely the sort of ephemeral, experimental short subjects for which attempts at written elucidation seem — well, if not futile, then certainly at risk of disrespecting the ineffable. And maybe that’s all you really need to know before going to see the San Francisco artist demonstrate his secular visual liturgy in four installments at the Pacific Film Archive this evening.\u003c/p>\n\u003cp>Introspective is a word that occurs a lot in conversations about Dorsky, and so it should given his films’ solitude-reinforcing silence, but what about his way, too, of looking so intently \u003ci>out\u003c/i> at the world, and at its abundance? What about his prioritization of peripheral mysteries?\u003c/p>\n\u003cp>By so mindfully observing the undulations of natural and manmade textures that inspire and apparently surround him, Dorsky somehow achieves translucence and opacity at the same time. It’s weird, and beautiful. Sometimes there is the feeling of allowing your eyes to relax their focus, and the enthralling new way of seeing that results. Often there is a feeling of closeness to what’s being seen. It can be intimate.\u003c/p>\n\u003cp>“If a film fails to take advantage of the self-existing magic of things, if it uses objects merely to mean something,” he writes, “it has thrown away one of its great possibilities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This must at least partly explain how all those blossom blasts and gleaming water beads and cloud-smudged celestial objects, so alertly enshrined in the matte hues of a now-extinct film stock, could still seem so vital and so much truer than, for instance, anything you’ll see in \u003cb>Avatar\u003c/b>.\u003c/p>\n\u003cp>Dorsky showed a couple of these films, \u003cb>Sarabande\u003c/b> and \u003cb>Winter\u003c/b>, at SFMOMA at around this time last year. Discussing them afterward, he described, among other things, the San Francisco winter, an “odd, long dissolve between autumn and spring” that took him 20 years to like and presumably at least one more to make a 22-minute movie about. So that’s devotion.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dorsky-compline.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its title suggests, \u003cb>Compline\u003c/b>, one of this evening’s two premieres, could be said to be seeking a kind of closure. But it’s no surprise that for Dorsky, closure can be an opening. The other premiere is called \u003cb>Aubade\u003c/b>, and he only finished it just recently.\u003c/p>\n\u003cp>“An aubade,” Dorsky reminds us, “is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Four by Nathaniel Dorsky\u003c/b>, with the filmmaker in person, Tuesday February 23, 2010, 7:30pm at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/27966/the_short_films_of_nathaniel_dorsky_better_than_avatar",
"authors": [
"128"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10027966",
"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": 2916,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_28818",
"arts_28575",
"arts_28514",
"arts_28291",
"arts_28267",
"arts_28247",
"arts_28185",
"arts_28182",
"arts_28163",
"arts_28140",
"arts_28039",
"arts_27966"
],
"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_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_345": {
"type": "terms",
"id": "arts_345",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "345",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truly CA Shorts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truly CA Shorts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 346,
"slug": "trulycashorts",
"isLoading": false,
"link": "/arts/tag/trulycashorts"
},
"arts_991": {
"type": "terms",
"id": "arts_991",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "991",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Essay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Essay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1009,
"slug": "essay",
"isLoading": false,
"link": "/arts/tag/essay"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
