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_10023842": {
"type": "attachments",
"id": "arts_10023842",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023842",
"found": true
},
"parent": 23842,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/jordan-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/jordan-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/jordan-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/jordan-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/jordan-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/jordan-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1230065800,
"modified": 1230065800,
"caption": null,
"description": null,
"title": "10 last-minute, locally relevant DVD gift ideas-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023816": {
"type": "attachments",
"id": "arts_10023816",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023816",
"found": true
},
"parent": 23816,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/my-winnipeg-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/my-winnipeg-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/my-winnipeg-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/my-winnipeg-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/my-winnipeg-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/my-winnipeg-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1229734634,
"modified": 1229734634,
"caption": null,
"description": null,
"title": "High and Low: The Top 5 and Bottom 5 Films of 2008-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023803": {
"type": "attachments",
"id": "arts_10023803",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023803",
"found": true
},
"parent": 23803,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/timecrimes-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/timecrimes-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/timecrimes-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/timecrimes-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/timecrimes-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/timecrimes-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1229643646,
"modified": 1229643646,
"caption": null,
"description": null,
"title": "Timecrimes-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023800": {
"type": "attachments",
"id": "arts_10023800",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023800",
"found": true
},
"parent": 23800,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/other-cinema-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/other-cinema-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1229642420,
"modified": 1229642420,
"caption": null,
"description": null,
"title": "Other Cinema: New Experimental Works-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023789": {
"type": "attachments",
"id": "arts_10023789",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023789",
"found": true
},
"parent": 23789,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/pray-devil-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/pray-devil-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/pray-devil-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/pray-devil-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/pray-devil-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/pray-devil-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1229041760,
"modified": 1229041760,
"caption": null,
"description": null,
"title": "Pray the Devil Back to Hell-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023786": {
"type": "attachments",
"id": "arts_10023786",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023786",
"found": true
},
"parent": 23786,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/frost-nixon-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/frost-nixon-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/frost-nixon-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/frost-nixon-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/frost-nixon-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/frost-nixon-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1229040840,
"modified": 1229040840,
"caption": null,
"description": null,
"title": "Requiem for a Lightweight: Frost/Nixon-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023783": {
"type": "attachments",
"id": "arts_10023783",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023783",
"found": true
},
"parent": 23783,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/quebec-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/quebec-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/quebec-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/quebec-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/quebec-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/quebec-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1229029384,
"modified": 1229029384,
"caption": null,
"description": null,
"title": "Quebec Film Week-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023740": {
"type": "attachments",
"id": "arts_10023740",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023740",
"found": true
},
"parent": 23740,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/milk-248x1404.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/milk-248x1404-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1227640235,
"modified": 1227640235,
"caption": null,
"description": null,
"title": "Milk-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023709": {
"type": "attachments",
"id": "arts_10023709",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023709",
"found": true
},
"parent": 23709,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/aldrich-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/aldrich-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/aldrich-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/aldrich-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/aldrich-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/aldrich-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1227219711,
"modified": 1227219711,
"caption": null,
"description": null,
"title": "Half a dozen dirty things people have said about Robert Aldrich-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023686": {
"type": "attachments",
"id": "arts_10023686",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023686",
"found": true
},
"parent": 23686,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/nerdcore-rising-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/nerdcore-rising-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/nerdcore-rising-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/nerdcore-rising-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/nerdcore-rising-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/nerdcore-rising-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1226988915,
"modified": 1226988915,
"caption": null,
"description": null,
"title": "Nerdcore Rising-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023660": {
"type": "attachments",
"id": "arts_10023660",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023660",
"found": true
},
"parent": 23660,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/black-sea-248x1404.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/black-sea-248x1404-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1226609241,
"modified": 1226609241,
"caption": null,
"description": null,
"title": "Italian For Beginners: New Italian Cinema-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023638": {
"type": "attachments",
"id": "arts_10023638",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023638",
"found": true
},
"parent": 23638,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/let-right-one-in-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/let-right-one-in-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/let-right-one-in-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/let-right-one-in-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/let-right-one-in-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/let-right-one-in-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1226287570,
"modified": 1226287570,
"caption": null,
"description": null,
"title": "Let the Right One In-",
"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": {
"marktaylor-2": {
"type": "authors",
"id": "8",
"meta": {
"index": "authors_1716337520",
"id": "8",
"found": true
},
"name": "Mark Taylor",
"firstName": "Mark",
"lastName": "Taylor",
"slug": "marktaylor-2",
"email": "mark@emptypictures.net",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Mark Taylor founded KQED Arts in 2005 and served as Senior Interactive Producer for Arts and Culture through 2014. Taylor was the online arts editor of KQED's daily arts blog for nine years and created the station's first web-original podcasts, Gallery Crawl and The Writers' Block.\r\n\r\nTaylor is an experimental filmmaker and visual artist whose work has been collected by the Library of Congress, Stanford University and the New York Museum of Modern Art, among many others. He teaches Media Studies at the University of San Francisco and is exploring the connection between film and food. \u003ca href=\"http://emptypictures.net/\">Visit Mark Taylor's website\u003c/a> at emptypictures.net.",
"avatar": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Administrator",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "checkplease",
"roles": [
"subscriber"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Mark Taylor | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/marktaylor-2"
},
"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"
},
"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"
},
"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": 253
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 253
}
},
{
"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_23842": {
"type": "posts",
"id": "arts_23842",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23842",
"score": null,
"sort": [
1230065800000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1230065800,
"format": "standard",
"title": "10 last-minute, locally relevant DVD gift ideas",
"headTitle": "10 last-minute, locally relevant DVD gift ideas | KQED",
"content": "\u003cp>When giving the gift of DVD (or Blu-ray, if you’re there yet), the easy rule of thumb is to always get something you’d want to watch with the person you’re giving it to. Or if you can’t stand the person you’re giving it to, get something you’d want to borrow from that person and never return. Below, some recent, brand spankin’ new, or unhelpfully not-even-out yet releases worth considering.\u003c/p>\n\u003cp>\u003cb>9 @ Night Box Set\u003c/b> (self-released)\u003cbr>Filmmaker Rob Nilsson, this year’s winner of the San Francisco Film Critics Circle Marlon Riggs Award, has released the complete set of his interlocking series of dramatic DIY feature films about life among the hobos, hookers, strippers, addicts, thieves and everybody else who’s ever bottomed out in the inner city. It is an event. Sort of like Kieslowski’s \u003cb>Decalogue\u003c/b>, except with nine films instead of ten, and in the Tenderloin. Seriously. “Cinema of the forgotten,” Nilsson calls it, and taken together, the rough-hewn, enduringly soulful \u003cb>9 @ Night\u003c/b> films make a vital contribution to the cinema of the Bay Area or anywhere. (Read Michael Fox’s \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=23292\">full review\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Wall-E\u003c/b> (Walt Disney Video)\u003cbr>The best animated feature ever, according to six gazillion critics, Pixar’s latest embodies all that cinema has been (its nearly wordless first half plays like the perfect, universally communicable silent film) and all that it might be (just look at it, for crying out loud) in the romantic adventure of an anthropomorphized trash compactor. Precious! Assuming you and your giftee don’t have a full-size movie screen between you, the DVD release is necessarily a downgrade. But what it lacks in magnitude, it makes up for in study-ability, or, to use an official technical term, the “Whoa, cool, rewind that!” factor.\u003c/p>\n\u003cp>\u003cb>The Godfather: The Coppola Restoration Giftset\u003c/b> (Paramount)\u003cbr>You really can’t go wrong with \u003cb>The Godfather\u003c/b>. Well, you can if you never invite him to your house for a cup of coffee, even though his wife is godmother to your only child, and now you come to him and you say, “Don Corleone, give me justice,” but you don’t ask with respect or offer friendship or even think to call him Godfather; instead you come into his home on the day his daughter is to be married and you ask him to do murder for money. That would be a way to go wrong with him. But you knew that. Go right with this handsomely restored, remastered, special-feature-laden set of all three \u003cb>Godfather\u003c/b> films. Sure, Coppola’s just out to make another buck. But he’s earned it. Does he have your loyalty?\u003c/p>\n\u003cp>\u003cb>Youth Without Youth\u003c/b> (Sony)\u003cbr> Or, wait, how about Coppola’s most recent film, a noteworthy, kind of adorably head-scratching return to the director’s chair after 10 years away. Bewitching title, isn’t it? Yes, in the grand tradition of things without other things — “Games Without Frontiers,” say, or “Doctors Without Borders” — this film, adapted by Coppola from the novella by Romanian religious historian and philosopher Mircea Eliade, goes you one further, by being about a thing without itself. Whoa. It rummages among the filmmaker’s self-proclaimed pet subjects: “time, consciousness and the dream-like basis of reality.” On the eve of World War II, an elderly linguistics professor (Tim Roth) gets struck by lightning and then finds himself becoming younger, smarter, and more interesting to cruel Nazis. Let’s just say things get weirder from there. Looks like somebody left the gun and took the cannoli! (Read another Michael Fox \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=20961\">review\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The Lawrence Jordan Album\u003c/b> (Facets)\u003cbr>This four-disc collection of cut-out collage animations, surreal narratives, seasonally sensitive nature scenes and other exquisite ephemera is a must for fans of Bay Area mainstay experimentalist Larry Jordan — or for any cinematic aspirant who’s never even heard of him. What Jordan does with the poetry of Samuel Taylor Coleridge, the music of Erik Satie, and especially with the spindling tendrils of his own imagination is, well, a sight to behold. After soaking up this compendium, if they don’t already, your dreams will start to seem like Jordan’s astonishingly lyrical films.\u003c/p>\n\u003cp>\u003cb>Gonzo: The Life and Work of Dr. Hunter S. Thompson\u003c/b> (Magnolia)\u003cbr>Sure, Thompson is to journalism now pretty much what Charles Bukowski is to poetry: a magnet for reverential, ill-advised imitation, a phase to be grown out of. But of course, as the man himself once wrote (of the Hell’s Angels), “In a nation of frightened dullards, there’s always a sorry shortage of outlaws. And those few who make the grade are always welcome.” In \u003cb>Gonzo\u003c/b>, writer-producer-director Alex Gibney gamely reconstructs Thompson’s cult of personality, reminding us that hyperbolic subjectivity was the writer’s great contribution to his field, and also his undoing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Dirty Harry: The Ultimate Collector’s Edition\u003c/b> (Warner Home Video)\u003cbr> For a while there, back when bad polyester pants weren’t worn ironically, Clint Eastwood’s Dirty Harry seemed like the hero San Francisco deserved. This, uh, rather potent anti-establishment advocate for victim’s rights and against bureaucratic law-enforcement corruption had two basic modes of expression — silent seething and jocular intolerance — and punctuated the transitions between them with the occasional well-aimed blast of a .44 Magnum. But it’s not \u003ci>all\u003c/i> about Clint. Dig, for instance, the evolution of charismatic series-regular supporting actor Albert Popwell, who played the punk famously asked to assess his own luck in \u003cb>Dirty Harry\u003c/b> (1971); a murderous, psychopathic pimp in \u003cb>Magnum Force (1973)\u003c/b>; a Blank Pantheresque militant in \u003cb>The Enforcer\u003c/b> (1976); Harry’s partner and almost-pal in \u003cb>Sudden Impact\u003c/b> (1983) and nobody in \u003cb>The Dead Pool\u003c/b> (1988), perhaps because he recognized that perfunctory last installment as a way of putting the franchise out to pasture. Fans surely will revel in this well-appointed set, complete with good-faith special-features efforts to assay the series’s endlessly debatable political and cultural legacy.\u003c/p>\n\u003cp>\u003cb>Soldiers of Conscience\u003c/b>\u003cbr>This latest documentary from the Berkeley-based producing-directing (and wife-husband) team of Catherine Ryan and Gary Weimberg has a deceptively straightforward premise: “This film is about killing in war,” we learn early on from Peter Coyote’s narration. “And about some U.S. soldiers who have chosen not to.” As its title suggests, \u003cb>Soldiers of Conscience\u003c/b> grapples with an apparent moral contradiction. It asks the questions we have presumed that decency forbids, and tests a counter-intuitive hypothesis that the call of military duty need not be dehumanizing by default. This involves chillingly intimate recollections from a handful of conscientious objectors, each rather astonishingly articulate, and from veterans who’ve taken lives without hesitation and will again if so required. It’s a modest, unpretentious film, and probably more affecting for it. Conveying not just the grimly harrowing circumstances of modern combat but also a real sense of the bright, mature and morally serious minds that terrible crucible has forged, \u003cb>Soldiers of Conscience\u003c/b> amounts to a timely cross-examination of the human killer instinct.\u003c/p>\n\u003cp>\u003cb>Girls Rock!\u003c/b>\u003cbr>OK, the DVD won’t be out until late January, but pre-order that sucker and stuff the stocking with an I.O.U. Directors Arne Johnson and Shane King visit the Rock ‘n’ Roll Camp for Girls, a week-long boyless Oregon garrison at which trade secrets of “do-it-yourself girl power” are bequeathed to young ladies aged 8 to 18, and deliver exactly the documentary you’d expect from its title. Forgetting for a moment that there is perhaps no better conservator of stunted adolescence than rock ‘n’ roll, the camp — and the movie — ambitiously intend to seed a whole generation of empowered women. Sure, it curries feminist favor and makes you watch an hour and a half of \u003ci>really\u003c/i> amateur band practice. But watch, too, how naturally those bands discover the sort of openness, creative potential and charisma that women (and men) three times their age try so hard to affect. A backgrounder on the camp’s history and relentless statistical evidence of girls’ cultural disadvantages are made palatable by snappy animation, wry stock-footage mash-ups and collage captions resembling what Sex Pistols record sleeves would look like if they’d been designed by Barbara Kruger instead of Jamie Reid. (Dude, yet one more Michael Fox \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=22404\">review\u003c/a>.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Have You Seen…? A Personal Introduction to 1,000 Films\u003c/b> (Knopf)\u003cbr>Yes, it’s a book. But it’s a book about movies, and an essential one at that. Just how many list-based books of delectable movie commentary can David Thomson compile? Well, how many movies are worth seeing? At least this thousand according to Thomson, an English-born San Franciscan and most famously also the author of the \u003cb>New Biographical Dictionary of Film\u003c/b>. This companion piece, self-consciously a “gesture toward history,” offers yet more of his profoundly learned, personal ruminations on what movies mean to us and why — without illustrations or a rating system because, no, seriously, he doesn’t need them. That’s the beauty of it: Thomson proves how far beyond synopsis-and-verdict the literature of cinema can and should go. His detractors in the field would call him stifling but should just be glad for their own sakes that real fluency has fallen out of fashion in movie criticism. It is fair to go in to this book feeling overwhelmed by its scope, and to want to refute some of its pronouncements, but that’s how you know it’s working; before long you’ll wonder what you ever did without it.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1697,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052862,
"excerpt": "When giving the gift of DVD (or Blu-ray, if you're there yet), the easy rule of thumb is to always get something you'd want to watch with the person you're giving it to. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When giving the gift of DVD (or Blu-ray, if you're there yet), the easy rule of thumb is to always get something you'd want to watch with the person you're giving it to. ",
"title": "10 last-minute, locally relevant DVD gift ideas | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "10 last-minute, locally relevant DVD gift ideas",
"datePublished": "2008-12-23T12:56:40-08:00",
"dateModified": "2024-01-12T01:47:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "10_lastminute_locally_relevant_dvd_gift_ideas",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23842/10_lastminute_locally_relevant_dvd_gift_ideas",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When giving the gift of DVD (or Blu-ray, if you’re there yet), the easy rule of thumb is to always get something you’d want to watch with the person you’re giving it to. Or if you can’t stand the person you’re giving it to, get something you’d want to borrow from that person and never return. Below, some recent, brand spankin’ new, or unhelpfully not-even-out yet releases worth considering.\u003c/p>\n\u003cp>\u003cb>9 @ Night Box Set\u003c/b> (self-released)\u003cbr>Filmmaker Rob Nilsson, this year’s winner of the San Francisco Film Critics Circle Marlon Riggs Award, has released the complete set of his interlocking series of dramatic DIY feature films about life among the hobos, hookers, strippers, addicts, thieves and everybody else who’s ever bottomed out in the inner city. It is an event. Sort of like Kieslowski’s \u003cb>Decalogue\u003c/b>, except with nine films instead of ten, and in the Tenderloin. Seriously. “Cinema of the forgotten,” Nilsson calls it, and taken together, the rough-hewn, enduringly soulful \u003cb>9 @ Night\u003c/b> films make a vital contribution to the cinema of the Bay Area or anywhere. (Read Michael Fox’s \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=23292\">full review\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Wall-E\u003c/b> (Walt Disney Video)\u003cbr>The best animated feature ever, according to six gazillion critics, Pixar’s latest embodies all that cinema has been (its nearly wordless first half plays like the perfect, universally communicable silent film) and all that it might be (just look at it, for crying out loud) in the romantic adventure of an anthropomorphized trash compactor. Precious! Assuming you and your giftee don’t have a full-size movie screen between you, the DVD release is necessarily a downgrade. But what it lacks in magnitude, it makes up for in study-ability, or, to use an official technical term, the “Whoa, cool, rewind that!” factor.\u003c/p>\n\u003cp>\u003cb>The Godfather: The Coppola Restoration Giftset\u003c/b> (Paramount)\u003cbr>You really can’t go wrong with \u003cb>The Godfather\u003c/b>. Well, you can if you never invite him to your house for a cup of coffee, even though his wife is godmother to your only child, and now you come to him and you say, “Don Corleone, give me justice,” but you don’t ask with respect or offer friendship or even think to call him Godfather; instead you come into his home on the day his daughter is to be married and you ask him to do murder for money. That would be a way to go wrong with him. But you knew that. Go right with this handsomely restored, remastered, special-feature-laden set of all three \u003cb>Godfather\u003c/b> films. Sure, Coppola’s just out to make another buck. But he’s earned it. Does he have your loyalty?\u003c/p>\n\u003cp>\u003cb>Youth Without Youth\u003c/b> (Sony)\u003cbr> Or, wait, how about Coppola’s most recent film, a noteworthy, kind of adorably head-scratching return to the director’s chair after 10 years away. Bewitching title, isn’t it? Yes, in the grand tradition of things without other things — “Games Without Frontiers,” say, or “Doctors Without Borders” — this film, adapted by Coppola from the novella by Romanian religious historian and philosopher Mircea Eliade, goes you one further, by being about a thing without itself. Whoa. It rummages among the filmmaker’s self-proclaimed pet subjects: “time, consciousness and the dream-like basis of reality.” On the eve of World War II, an elderly linguistics professor (Tim Roth) gets struck by lightning and then finds himself becoming younger, smarter, and more interesting to cruel Nazis. Let’s just say things get weirder from there. Looks like somebody left the gun and took the cannoli! (Read another Michael Fox \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=20961\">review\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Lawrence Jordan Album\u003c/b> (Facets)\u003cbr>This four-disc collection of cut-out collage animations, surreal narratives, seasonally sensitive nature scenes and other exquisite ephemera is a must for fans of Bay Area mainstay experimentalist Larry Jordan — or for any cinematic aspirant who’s never even heard of him. What Jordan does with the poetry of Samuel Taylor Coleridge, the music of Erik Satie, and especially with the spindling tendrils of his own imagination is, well, a sight to behold. After soaking up this compendium, if they don’t already, your dreams will start to seem like Jordan’s astonishingly lyrical films.\u003c/p>\n\u003cp>\u003cb>Gonzo: The Life and Work of Dr. Hunter S. Thompson\u003c/b> (Magnolia)\u003cbr>Sure, Thompson is to journalism now pretty much what Charles Bukowski is to poetry: a magnet for reverential, ill-advised imitation, a phase to be grown out of. But of course, as the man himself once wrote (of the Hell’s Angels), “In a nation of frightened dullards, there’s always a sorry shortage of outlaws. And those few who make the grade are always welcome.” In \u003cb>Gonzo\u003c/b>, writer-producer-director Alex Gibney gamely reconstructs Thompson’s cult of personality, reminding us that hyperbolic subjectivity was the writer’s great contribution to his field, and also his undoing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Dirty Harry: The Ultimate Collector’s Edition\u003c/b> (Warner Home Video)\u003cbr> For a while there, back when bad polyester pants weren’t worn ironically, Clint Eastwood’s Dirty Harry seemed like the hero San Francisco deserved. This, uh, rather potent anti-establishment advocate for victim’s rights and against bureaucratic law-enforcement corruption had two basic modes of expression — silent seething and jocular intolerance — and punctuated the transitions between them with the occasional well-aimed blast of a .44 Magnum. But it’s not \u003ci>all\u003c/i> about Clint. Dig, for instance, the evolution of charismatic series-regular supporting actor Albert Popwell, who played the punk famously asked to assess his own luck in \u003cb>Dirty Harry\u003c/b> (1971); a murderous, psychopathic pimp in \u003cb>Magnum Force (1973)\u003c/b>; a Blank Pantheresque militant in \u003cb>The Enforcer\u003c/b> (1976); Harry’s partner and almost-pal in \u003cb>Sudden Impact\u003c/b> (1983) and nobody in \u003cb>The Dead Pool\u003c/b> (1988), perhaps because he recognized that perfunctory last installment as a way of putting the franchise out to pasture. Fans surely will revel in this well-appointed set, complete with good-faith special-features efforts to assay the series’s endlessly debatable political and cultural legacy.\u003c/p>\n\u003cp>\u003cb>Soldiers of Conscience\u003c/b>\u003cbr>This latest documentary from the Berkeley-based producing-directing (and wife-husband) team of Catherine Ryan and Gary Weimberg has a deceptively straightforward premise: “This film is about killing in war,” we learn early on from Peter Coyote’s narration. “And about some U.S. soldiers who have chosen not to.” As its title suggests, \u003cb>Soldiers of Conscience\u003c/b> grapples with an apparent moral contradiction. It asks the questions we have presumed that decency forbids, and tests a counter-intuitive hypothesis that the call of military duty need not be dehumanizing by default. This involves chillingly intimate recollections from a handful of conscientious objectors, each rather astonishingly articulate, and from veterans who’ve taken lives without hesitation and will again if so required. It’s a modest, unpretentious film, and probably more affecting for it. Conveying not just the grimly harrowing circumstances of modern combat but also a real sense of the bright, mature and morally serious minds that terrible crucible has forged, \u003cb>Soldiers of Conscience\u003c/b> amounts to a timely cross-examination of the human killer instinct.\u003c/p>\n\u003cp>\u003cb>Girls Rock!\u003c/b>\u003cbr>OK, the DVD won’t be out until late January, but pre-order that sucker and stuff the stocking with an I.O.U. Directors Arne Johnson and Shane King visit the Rock ‘n’ Roll Camp for Girls, a week-long boyless Oregon garrison at which trade secrets of “do-it-yourself girl power” are bequeathed to young ladies aged 8 to 18, and deliver exactly the documentary you’d expect from its title. Forgetting for a moment that there is perhaps no better conservator of stunted adolescence than rock ‘n’ roll, the camp — and the movie — ambitiously intend to seed a whole generation of empowered women. Sure, it curries feminist favor and makes you watch an hour and a half of \u003ci>really\u003c/i> amateur band practice. But watch, too, how naturally those bands discover the sort of openness, creative potential and charisma that women (and men) three times their age try so hard to affect. A backgrounder on the camp’s history and relentless statistical evidence of girls’ cultural disadvantages are made palatable by snappy animation, wry stock-footage mash-ups and collage captions resembling what Sex Pistols record sleeves would look like if they’d been designed by Barbara Kruger instead of Jamie Reid. (Dude, yet one more Michael Fox \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=22404\">review\u003c/a>.)\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>\u003cb>Have You Seen…? A Personal Introduction to 1,000 Films\u003c/b> (Knopf)\u003cbr>Yes, it’s a book. But it’s a book about movies, and an essential one at that. Just how many list-based books of delectable movie commentary can David Thomson compile? Well, how many movies are worth seeing? At least this thousand according to Thomson, an English-born San Franciscan and most famously also the author of the \u003cb>New Biographical Dictionary of Film\u003c/b>. This companion piece, self-consciously a “gesture toward history,” offers yet more of his profoundly learned, personal ruminations on what movies mean to us and why — without illustrations or a rating system because, no, seriously, he doesn’t need them. That’s the beauty of it: Thomson proves how far beyond synopsis-and-verdict the literature of cinema can and should go. His detractors in the field would call him stifling but should just be glad for their own sakes that real fluency has fallen out of fashion in movie criticism. It is fair to go in to this book feeling overwhelmed by its scope, and to want to refute some of its pronouncements, but that’s how you know it’s working; before long you’ll wonder what you ever did without it.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23842/10_lastminute_locally_relevant_dvd_gift_ideas",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023842",
"label": "arts"
},
"arts_23816": {
"type": "posts",
"id": "arts_23816",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23816",
"score": null,
"sort": [
1229734634000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1229734634,
"format": "standard",
"title": "High and Low: The Top 5 and Bottom 5 Films of 2008",
"headTitle": "High and Low: The Top 5 and Bottom 5 Films of 2008 | KQED",
"content": "\u003cp>This was a mediocre year for movies, and that’s being generous. Compared to the bumper crop of outstanding films released in 2007, the last 12 months have been a dreary slog. Good luck coming up with titles that anyone will remember, let alone want to revisit, even a few months hence. Here are five I venture will stand the test of time.\u003c/p>\n\u003cp>1. Guy Maddin’s \u003cb>My Winnipeg\u003c/b> is a one-of-a-kind documentary of the imagination, a wry and poetic and tart melding of childhood memories, selective urban history and savage regret. Pure pleasure, start to finish.\u003c/p>\n\u003cp>2. \u003cb>In the City of Sylvia\u003c/b> received a single screening at the S.F. International Film Festival, but its one-week N.Y. run earlier this month might just encourage the Roxie or Red Vic to book it. Catalan filmmaker José Luis Guerin follows a young man on holiday in Strasbourg who imagines he’s caught an elusive glimpse of a long-ago lover. A dreamy mood piece populated with a daunting number of beautiful women, \u003cb>Sylvia\u003c/b> is an artful comment on moviemaking and movie watching.\u003c/p>\n\u003cp>3. It was a breakout year for Israeli cinema, with \u003cb>Beaufort\u003c/b>, \u003cb>The Band’s Visit\u003c/b>, \u003cb>My Father, My Lord\u003c/b> and \u003cb>Waltz With Bashir\u003c/b> (opening Jan. 9, 2009) all deserving raves. Check out the overlooked \u003cb>Jellyfish\u003c/b>, a delicate fable of three alienated women separately trying to fit the pieces of their lives together in Tel Aviv.\u003c/p>\n\u003cp>4. Steven Soderbergh’s two-part \u003cb>Che\u003c/b> opening Jan. 9, 2009 and comprised of \u003cb>The Argentine\u003c/b> and \u003cb>Guerilla\u003c/b>, is arguably the most ambitious and best-made movie of the year. It doesn’t create the emotional connection that we associate with “great” films, hence the cool reviews, but it is a work of extraordinary rigor and intelligence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>5. I echo all the praise heaped on \u003cb>Man On Wire\u003c/b>, but I’ll use my final vote to call attention to a less-heralded documentary, \u003cb>Roman Polanski: Wanted and Desired\u003c/b>. Relying only on participants in and witnesses to the actual events and contemporaneous news footage — no historians or film critics, in other words — filmmaker Marina Zenovich recounts the brouhaha surrounding Polanski’s 1977 arrest for having sex with a 13-year-old girl. More than just a fascinating story, the film reveals the low-class intersection of celebrity, sex, media and justice.\u003c/p>\n\u003cp>For the record, the biggest crowd-pleasers of 2008, \u003cb>The Dark Knight\u003c/b> and \u003cb>Wall-E\u003c/b>, land squarely in the “well made but don’t ever need to see again” category.\u003c/p>\n\u003cp>Unlike daily critics, who have to cover everything, I’m privileged to skip the junk pile of low-rent horror films, teen sex comedies, action movies starring washed-up pro wrestlers, sci-fi boondoggles and cheesy children’s movies. The bad news is that it’s harder to come up with a Bottom 5. Just kidding.\u003c/p>\n\u003cp>1. \u003cb>Wanted\u003c/b>. Amoral action flicks with reprehensible characters and grotesque violence are sadly commonplace, but they don’t typically star respected actors and top-dollar actresses. Everybody involved in this atrocity should be suspended without pay for a year.\u003c/p>\n\u003cp>2. \u003cb>The Happening\u003c/b>. I suspect that M. Night Shyamalan intended to pay homage to the ham-fisted dialogue, stilted performances and lame visual effects that “distinguished” the cheesy science fiction films of the ’50s. But he neglected to signal to audiences that he was making a parody. Or perhaps his ego swallowed his sense of humor in his sleep, and he never noticed.\u003c/p>\n\u003cp>3. \u003cb>Seven Pounds\u003c/b>. This narcissistic, soft-focus glob of horsefeathers is the natural result when superstardom morphs into megalomania.\u003c/p>\n\u003cp>4. \u003cb>Zach and Miri Make a Porno\u003c/b>. Kevin Smith has finally developed to the point where he can compose a decent-looking shot — or at least hire someone who can — but his worldview is still stuck in the second year of high school.\u003c/p>\n\u003cp>5. \u003cb>Vicky Christina Barcelona\u003c/b> might seem witty and clever if you’ve never seen a Woody Allen movie. In fact, it’s a weak-tea, week-kneed rehash of his increasingly irrelevant obsession with successful but neurotic artists and unsuccessful and neurotic women. Ah, but there’s always next year for the prolific one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your favorite films in 2008. Comment on this post and share your bests and worsts.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 742,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705052872,
"excerpt": "This was a mediocre year for movies, and that's being generous. Compared to the bumper crop of outstanding films released in 2007, the last 12 months have been a dreary slog.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This was a mediocre year for movies, and that's being generous. Compared to the bumper crop of outstanding films released in 2007, the last 12 months have been a dreary slog.",
"title": "High and Low: The Top 5 and Bottom 5 Films of 2008 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "High and Low: The Top 5 and Bottom 5 Films of 2008",
"datePublished": "2008-12-19T16:57:14-08:00",
"dateModified": "2024-01-12T01:47:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "high_and_low_the_top_5_and_bottom_5_films_of_2008",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-popculture/",
"sticky": false,
"path": "/arts/23816/high_and_low_the_top_5_and_bottom_5_films_of_2008",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was a mediocre year for movies, and that’s being generous. Compared to the bumper crop of outstanding films released in 2007, the last 12 months have been a dreary slog. Good luck coming up with titles that anyone will remember, let alone want to revisit, even a few months hence. Here are five I venture will stand the test of time.\u003c/p>\n\u003cp>1. Guy Maddin’s \u003cb>My Winnipeg\u003c/b> is a one-of-a-kind documentary of the imagination, a wry and poetic and tart melding of childhood memories, selective urban history and savage regret. Pure pleasure, start to finish.\u003c/p>\n\u003cp>2. \u003cb>In the City of Sylvia\u003c/b> received a single screening at the S.F. International Film Festival, but its one-week N.Y. run earlier this month might just encourage the Roxie or Red Vic to book it. Catalan filmmaker José Luis Guerin follows a young man on holiday in Strasbourg who imagines he’s caught an elusive glimpse of a long-ago lover. A dreamy mood piece populated with a daunting number of beautiful women, \u003cb>Sylvia\u003c/b> is an artful comment on moviemaking and movie watching.\u003c/p>\n\u003cp>3. It was a breakout year for Israeli cinema, with \u003cb>Beaufort\u003c/b>, \u003cb>The Band’s Visit\u003c/b>, \u003cb>My Father, My Lord\u003c/b> and \u003cb>Waltz With Bashir\u003c/b> (opening Jan. 9, 2009) all deserving raves. Check out the overlooked \u003cb>Jellyfish\u003c/b>, a delicate fable of three alienated women separately trying to fit the pieces of their lives together in Tel Aviv.\u003c/p>\n\u003cp>4. Steven Soderbergh’s two-part \u003cb>Che\u003c/b> opening Jan. 9, 2009 and comprised of \u003cb>The Argentine\u003c/b> and \u003cb>Guerilla\u003c/b>, is arguably the most ambitious and best-made movie of the year. It doesn’t create the emotional connection that we associate with “great” films, hence the cool reviews, but it is a work of extraordinary rigor and intelligence.\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>5. I echo all the praise heaped on \u003cb>Man On Wire\u003c/b>, but I’ll use my final vote to call attention to a less-heralded documentary, \u003cb>Roman Polanski: Wanted and Desired\u003c/b>. Relying only on participants in and witnesses to the actual events and contemporaneous news footage — no historians or film critics, in other words — filmmaker Marina Zenovich recounts the brouhaha surrounding Polanski’s 1977 arrest for having sex with a 13-year-old girl. More than just a fascinating story, the film reveals the low-class intersection of celebrity, sex, media and justice.\u003c/p>\n\u003cp>For the record, the biggest crowd-pleasers of 2008, \u003cb>The Dark Knight\u003c/b> and \u003cb>Wall-E\u003c/b>, land squarely in the “well made but don’t ever need to see again” category.\u003c/p>\n\u003cp>Unlike daily critics, who have to cover everything, I’m privileged to skip the junk pile of low-rent horror films, teen sex comedies, action movies starring washed-up pro wrestlers, sci-fi boondoggles and cheesy children’s movies. The bad news is that it’s harder to come up with a Bottom 5. Just kidding.\u003c/p>\n\u003cp>1. \u003cb>Wanted\u003c/b>. Amoral action flicks with reprehensible characters and grotesque violence are sadly commonplace, but they don’t typically star respected actors and top-dollar actresses. Everybody involved in this atrocity should be suspended without pay for a year.\u003c/p>\n\u003cp>2. \u003cb>The Happening\u003c/b>. I suspect that M. Night Shyamalan intended to pay homage to the ham-fisted dialogue, stilted performances and lame visual effects that “distinguished” the cheesy science fiction films of the ’50s. But he neglected to signal to audiences that he was making a parody. Or perhaps his ego swallowed his sense of humor in his sleep, and he never noticed.\u003c/p>\n\u003cp>3. \u003cb>Seven Pounds\u003c/b>. This narcissistic, soft-focus glob of horsefeathers is the natural result when superstardom morphs into megalomania.\u003c/p>\n\u003cp>4. \u003cb>Zach and Miri Make a Porno\u003c/b>. Kevin Smith has finally developed to the point where he can compose a decent-looking shot — or at least hire someone who can — but his worldview is still stuck in the second year of high school.\u003c/p>\n\u003cp>5. \u003cb>Vicky Christina Barcelona\u003c/b> might seem witty and clever if you’ve never seen a Woody Allen movie. In fact, it’s a weak-tea, week-kneed rehash of his increasingly irrelevant obsession with successful but neurotic artists and unsuccessful and neurotic women. Ah, but there’s always next year for the prolific one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your favorite films in 2008. Comment on this post and share your bests and worsts.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23816/high_and_low_the_top_5_and_bottom_5_films_of_2008",
"authors": [
"120"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023816",
"label": "arts"
},
"arts_23803": {
"type": "posts",
"id": "arts_23803",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23803",
"score": null,
"sort": [
1229643646000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1229643646,
"format": "standard",
"title": "Timecrimes",
"headTitle": "Timecrimes | KQED",
"content": "\u003cp>The plot of Spanish director Nacho Vigalondo’s feature film debut, \u003cb>Timecrimes\u003c/b>, is simple. Hector (Karra Elejalde) gets caught up in events that spin increasingly out of control when he spies a naked woman in the forest near his country home and decides to investigate. After being attacked by a mysterious stranger whose face is covered by a dirty bandage — think Liam Neeson in \u003cb>Darkman\u003c/b>, Hector seeks help at a nearby scientific research lab. A technician hides him inside a mysterious contraption, which turns out to be a time machine. Hector is transported a few hours back in time, and must make sure that his double, in this timeline, follows the same chain of events.\u003c/p>\n\u003cp>If I provided any further details, it would surely spoil the fun. \u003cb>Timecrimes\u003c/b> is one of those super lean independent films that unfolds with clockwork efficiency — just a few characters, a remote location, no wasted action, and no extraneous dialogue. Like the classic “last man on earth” films from the ’60s and ’70s, or some of the better \u003cb>Outer Limits\u003c/b> or \u003cb>Twilight Zone\u003c/b> episodes, the suspense is all inside the premise, following the action of one increasingly desperate character as he tries to find his way back to “normal.”\u003c/p>\n\u003cp>Hollywood films generate thrills and chills with million dollar special effects. \u003cb>Timecrimes\u003c/b> features some eerie glowing lights, cold, de-populated structures, interesting-looking gadgets and a few mysterious sounds, but most of the fun is in the reveal, in the unexpected twists and turns of time travel. It’s interesting to reflect on the fragility of the future, how even the smallest action has the potential to cause a ripple effect, which may become greatly magnified as it moves through time. Future realities splinter. The time traveler’s actions can have devastating consequences.\u003c/p>\n\u003cp>In most films of this genre, the time traveler understands his responsibility to do his best to “preserve the timeline.” (See multiple instances in \u003cb>Star Trek\u003c/b> for the gravity of Picard, the earnestness of Kirk.) Of course, the villains are also doing their best to disrupt the same, to erase people and their implications for future history. The \u003cb>Terminator\u003c/b> series is a great example; evil robots sent into the past to destroy a future resistance before it is born.\u003c/p>\n\u003cp>But what of the imperfect protagonist, the one whose only wish is for his own self-preservation? What of the hero who has been wrenched from his own time and finds himself fighting to return to a life that has already been irrevocably altered? \u003cb>Timecrimes\u003c/b> beautifully teases out the thread of this simple science fiction trope, winding it back onto itself until it is a hard knot, a lump in the throat, a series of increasingly bad choices — all of them aimed at the impossible: erasing the moment when its main character discovered that time travel was possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Timecrimes\u003c/b> opens December 19, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 495,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052879,
"excerpt": "\u003cb>Timecrimes\u003c/b> is one of those super lean independent films that unfolds with clockwork efficiency -- just a few characters, a remote location, no wasted action, and no extraneous dialogue.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Timecrimes is one of those super lean independent films that unfolds with clockwork efficiency -- just a few characters, a remote location, no wasted action, and no extraneous dialogue.",
"title": "Timecrimes | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Timecrimes",
"datePublished": "2008-12-18T15:40:46-08:00",
"dateModified": "2024-01-12T01:47:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "timecrimes",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23803/timecrimes",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The plot of Spanish director Nacho Vigalondo’s feature film debut, \u003cb>Timecrimes\u003c/b>, is simple. Hector (Karra Elejalde) gets caught up in events that spin increasingly out of control when he spies a naked woman in the forest near his country home and decides to investigate. After being attacked by a mysterious stranger whose face is covered by a dirty bandage — think Liam Neeson in \u003cb>Darkman\u003c/b>, Hector seeks help at a nearby scientific research lab. A technician hides him inside a mysterious contraption, which turns out to be a time machine. Hector is transported a few hours back in time, and must make sure that his double, in this timeline, follows the same chain of events.\u003c/p>\n\u003cp>If I provided any further details, it would surely spoil the fun. \u003cb>Timecrimes\u003c/b> is one of those super lean independent films that unfolds with clockwork efficiency — just a few characters, a remote location, no wasted action, and no extraneous dialogue. Like the classic “last man on earth” films from the ’60s and ’70s, or some of the better \u003cb>Outer Limits\u003c/b> or \u003cb>Twilight Zone\u003c/b> episodes, the suspense is all inside the premise, following the action of one increasingly desperate character as he tries to find his way back to “normal.”\u003c/p>\n\u003cp>Hollywood films generate thrills and chills with million dollar special effects. \u003cb>Timecrimes\u003c/b> features some eerie glowing lights, cold, de-populated structures, interesting-looking gadgets and a few mysterious sounds, but most of the fun is in the reveal, in the unexpected twists and turns of time travel. It’s interesting to reflect on the fragility of the future, how even the smallest action has the potential to cause a ripple effect, which may become greatly magnified as it moves through time. Future realities splinter. The time traveler’s actions can have devastating consequences.\u003c/p>\n\u003cp>In most films of this genre, the time traveler understands his responsibility to do his best to “preserve the timeline.” (See multiple instances in \u003cb>Star Trek\u003c/b> for the gravity of Picard, the earnestness of Kirk.) Of course, the villains are also doing their best to disrupt the same, to erase people and their implications for future history. The \u003cb>Terminator\u003c/b> series is a great example; evil robots sent into the past to destroy a future resistance before it is born.\u003c/p>\n\u003cp>But what of the imperfect protagonist, the one whose only wish is for his own self-preservation? What of the hero who has been wrenched from his own time and finds himself fighting to return to a life that has already been irrevocably altered? \u003cb>Timecrimes\u003c/b> beautifully teases out the thread of this simple science fiction trope, winding it back onto itself until it is a hard knot, a lump in the throat, a series of increasingly bad choices — all of them aimed at the impossible: erasing the moment when its main character discovered that time travel was possible.\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>Timecrimes\u003c/b> opens December 19, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23803/timecrimes",
"authors": [
"8"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023803",
"label": "arts"
},
"arts_23800": {
"type": "posts",
"id": "arts_23800",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23800",
"score": null,
"sort": [
1229642420000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1229642420,
"format": "standard",
"title": "Other Cinema: New Experimental Works",
"headTitle": "Other Cinema: New Experimental Works | KQED",
"content": "\u003cp>Never mind that the description on the flyer, as “the season’s most exploratory programming initiative,” makes it sound like a lonely bureaucrat’s long lost talking point. In fact, Other Cinema’s quasi-annual \u003cb>New Experimental Works\u003c/b> showcase packs so much bewitching, perplexing, WTF’ing, un-boring cinematic fringery into a single evening that it might even counteract a whole month’s worth of over-serious multiplex Oscar bait.\u003c/p>\n\u003cp>“It’s an explosion of work!” Other Cinema overlord Craig Baldwin said the other day while rummaging for preview DVD samples among the video decks, coffee mugs and scribbled notes to self hyper-cluttering his beautifully chaotic Valencia Street lair. “There’s too much on this show! I really can’t keep up with it!”\u003c/p>\n\u003cp>That’s sort of how it feels to watch former local Martha Colburn’s \u003cb>Myth Labs\u003c/b>, a brief, throbbing, cut-out-animation history of America which begins with pilgrims spilling bags of meth from their bibles and takes it frenziedly from there. And this is only \u003ci>one\u003c/i> of the evening’s highlights.\u003c/p>\n\u003cp>There’s also the jittery lyricism of Salise Hughes’s \u003cb>Shiny Things\u003c/b>, which affectingly cross cuts cops and robbers with a particularly haunting arrangement of Neil Young’s “Heart of Gold” via multi-layered, selectively erased footage from the mid-fifties genre films \u003cb>Violent Saturday\u003c/b> and \u003cb>Pete Kelly’s Blues\u003c/b>, plus a dash of abstract-yet-iconic imagery from Krzysztof Kieslowski’s \u003cb>Blue\u003c/b> thrown in for good measure. If this strangely resonating film speaks to a broader theme of the overall program, it’s by emphasizing the sense that there really is a lot going on here.\u003c/p>\n\u003cp>And if the self-described “paramedia ecologist” Gerry Fialka’s \u003cb>Jammerz\u003c/b> seems to try a little too name-droppingly hard to celebrate the virtues of culture jamming, from the perspective of an aging white dude with a noggin full of pharmaceutical and scholastic residue, well, then you probably need to just loosen up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All Baldwin knows is that the event wouldn’t be complete without a piece from the eminent undergrounder Roger Beebe, or “my hero,” as Baldwin called him. “I have a Super 8 camera that I’ll pay him with,” he added. Not that Beebe needs one; the two-and-a-half-minute rhythmic revelry of Beebe’s \u003cb>TB TX Dance\u003c/b> is famously, completely cameraless — made with only a laser printer, some 16mm film leader, and a fine cinematic intuition.\u003c/p>\n\u003cp>Plus, in tribute to the recently deceased and much admired local experimentalist Bruce Conner, a clip from the not deceased but much admired local experimentalist George Kuchar’s film, \u003cb>Tempest in a Teapot\u003c/b>, in which Conner appears. “Everybody’s having Bruce Conner tributes,” Baldwin said. “I just thought it’d be nice to tip our hat to good old Bruce.”\u003c/p>\n\u003cp>For the rest of us, or at least for cynics who consider the holiday season a time of grudging obligation to screwed-up, self-aggrandized family, some perspective might be gleaned from local media-maker Barbara Klutinis’s \u003cb>Severing the Soul\u003c/b>, a brief history of Rosemary Kennedy’s lobotomy — complete with just enough creepy footage and creepier sound.\u003c/p>\n\u003cp>Or, for the lighter side of brain surgery, there’s Karl Lind’s \u003cb>Devo Karaoke\u003c/b>, for which Lind descends from Portland to perform live vocals along with his brain-groping, Kubrick-riffing, ape-intensive video for the New Wave art-punk kitsch mongers’ song “Gates of Steel.”\u003c/p>\n\u003cp>And still, there is more. Too much, even, to account for here. So how about just one last little doozie to go out with? Of \u003cb>Daddy\u003c/b> Baldwin said, “I love it. I’m howling. But it’s probably going to freak some people out.” Yes. Yes it is. This little gem comes from locals Eli Marias & Amos Natkin, who once said in a statement that their work “begins with the proliferation of VHS self-help tapes.” In this case, it’s a low-grade, circa-1982 video of two sullen-seeming boys playing with Legos and lip-synching along with a mind-alteringly cheesy, infuriatingly catchy public-service-announcement in song. (Sample lyric: “Daddy, when you gonna come home and be the daddy you’re supposed to be?”) But wait. There’s more. In particular, the audio overlay of an over-sharing answering machine message from a father to a son on the younger fellow’s 25th birthday. (Sample quotation: “How can I forget? It was the biggest day of my life. And I was the first human being, other than the doctor, who pulled you out to touch you. You were all wet… it was an interesting day.”) For four and a half hilariously uncomfortable minutes, he continues, covering such topics as divorce, court orders, more birthday wishes, health problems, weird emotional blackmail, etc. The boys sing and pout and snap their Legos together. Baldwin’s summarizing note taped to the DVD case: “Dark and pathetic.”\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other Cinema’s \u003cb>New Experimental Works\u003c/b> show begins at 8:30pm on Saturday, December 20, 2008, at Artists’ Television Access in San Francisco. For \u003ca href=\"http://www.othercinema.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 924,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052881,
"excerpt": "Other Cinema's quasi-annual \u003cb>New Experimental Works\u003c/b> showcase packs so much bewitching, perplexing, WTF'ing, un-boring cinematic fringery into a single evening that it might even counteract a whole month's worth of over-serious multiplex Oscar bait.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Other Cinema's quasi-annual New Experimental Works showcase packs so much bewitching, perplexing, WTF'ing, un-boring cinematic fringery into a single evening that it might even counteract a whole month's worth of over-serious multiplex Oscar bait.",
"title": "Other Cinema: New Experimental Works | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Other Cinema: New Experimental Works",
"datePublished": "2008-12-18T15:20:20-08:00",
"dateModified": "2024-01-12T01:48:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "other_cinema_new_experimental_works",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-event/",
"sticky": false,
"path": "/arts/23800/other_cinema_new_experimental_works",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Never mind that the description on the flyer, as “the season’s most exploratory programming initiative,” makes it sound like a lonely bureaucrat’s long lost talking point. In fact, Other Cinema’s quasi-annual \u003cb>New Experimental Works\u003c/b> showcase packs so much bewitching, perplexing, WTF’ing, un-boring cinematic fringery into a single evening that it might even counteract a whole month’s worth of over-serious multiplex Oscar bait.\u003c/p>\n\u003cp>“It’s an explosion of work!” Other Cinema overlord Craig Baldwin said the other day while rummaging for preview DVD samples among the video decks, coffee mugs and scribbled notes to self hyper-cluttering his beautifully chaotic Valencia Street lair. “There’s too much on this show! I really can’t keep up with it!”\u003c/p>\n\u003cp>That’s sort of how it feels to watch former local Martha Colburn’s \u003cb>Myth Labs\u003c/b>, a brief, throbbing, cut-out-animation history of America which begins with pilgrims spilling bags of meth from their bibles and takes it frenziedly from there. And this is only \u003ci>one\u003c/i> of the evening’s highlights.\u003c/p>\n\u003cp>There’s also the jittery lyricism of Salise Hughes’s \u003cb>Shiny Things\u003c/b>, which affectingly cross cuts cops and robbers with a particularly haunting arrangement of Neil Young’s “Heart of Gold” via multi-layered, selectively erased footage from the mid-fifties genre films \u003cb>Violent Saturday\u003c/b> and \u003cb>Pete Kelly’s Blues\u003c/b>, plus a dash of abstract-yet-iconic imagery from Krzysztof Kieslowski’s \u003cb>Blue\u003c/b> thrown in for good measure. If this strangely resonating film speaks to a broader theme of the overall program, it’s by emphasizing the sense that there really is a lot going on here.\u003c/p>\n\u003cp>And if the self-described “paramedia ecologist” Gerry Fialka’s \u003cb>Jammerz\u003c/b> seems to try a little too name-droppingly hard to celebrate the virtues of culture jamming, from the perspective of an aging white dude with a noggin full of pharmaceutical and scholastic residue, well, then you probably need to just loosen up.\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>All Baldwin knows is that the event wouldn’t be complete without a piece from the eminent undergrounder Roger Beebe, or “my hero,” as Baldwin called him. “I have a Super 8 camera that I’ll pay him with,” he added. Not that Beebe needs one; the two-and-a-half-minute rhythmic revelry of Beebe’s \u003cb>TB TX Dance\u003c/b> is famously, completely cameraless — made with only a laser printer, some 16mm film leader, and a fine cinematic intuition.\u003c/p>\n\u003cp>Plus, in tribute to the recently deceased and much admired local experimentalist Bruce Conner, a clip from the not deceased but much admired local experimentalist George Kuchar’s film, \u003cb>Tempest in a Teapot\u003c/b>, in which Conner appears. “Everybody’s having Bruce Conner tributes,” Baldwin said. “I just thought it’d be nice to tip our hat to good old Bruce.”\u003c/p>\n\u003cp>For the rest of us, or at least for cynics who consider the holiday season a time of grudging obligation to screwed-up, self-aggrandized family, some perspective might be gleaned from local media-maker Barbara Klutinis’s \u003cb>Severing the Soul\u003c/b>, a brief history of Rosemary Kennedy’s lobotomy — complete with just enough creepy footage and creepier sound.\u003c/p>\n\u003cp>Or, for the lighter side of brain surgery, there’s Karl Lind’s \u003cb>Devo Karaoke\u003c/b>, for which Lind descends from Portland to perform live vocals along with his brain-groping, Kubrick-riffing, ape-intensive video for the New Wave art-punk kitsch mongers’ song “Gates of Steel.”\u003c/p>\n\u003cp>And still, there is more. Too much, even, to account for here. So how about just one last little doozie to go out with? Of \u003cb>Daddy\u003c/b> Baldwin said, “I love it. I’m howling. But it’s probably going to freak some people out.” Yes. Yes it is. This little gem comes from locals Eli Marias & Amos Natkin, who once said in a statement that their work “begins with the proliferation of VHS self-help tapes.” In this case, it’s a low-grade, circa-1982 video of two sullen-seeming boys playing with Legos and lip-synching along with a mind-alteringly cheesy, infuriatingly catchy public-service-announcement in song. (Sample lyric: “Daddy, when you gonna come home and be the daddy you’re supposed to be?”) But wait. There’s more. In particular, the audio overlay of an over-sharing answering machine message from a father to a son on the younger fellow’s 25th birthday. (Sample quotation: “How can I forget? It was the biggest day of my life. And I was the first human being, other than the doctor, who pulled you out to touch you. You were all wet… it was an interesting day.”) For four and a half hilariously uncomfortable minutes, he continues, covering such topics as divorce, court orders, more birthday wishes, health problems, weird emotional blackmail, etc. The boys sing and pout and snap their Legos together. Baldwin’s summarizing note taped to the DVD case: “Dark and pathetic.”\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other Cinema’s \u003cb>New Experimental Works\u003c/b> show begins at 8:30pm on Saturday, December 20, 2008, at Artists’ Television Access in San Francisco. For \u003ca href=\"http://www.othercinema.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23800/other_cinema_new_experimental_works",
"authors": [
"128"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10023800",
"label": "arts"
},
"arts_23789": {
"type": "posts",
"id": "arts_23789",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23789",
"score": null,
"sort": [
1229041760000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1229041760,
"format": "standard",
"title": "Pray the Devil Back to Hell",
"headTitle": "Pray the Devil Back to Hell | KQED",
"content": "\u003cp>There’s no polite way to say this, but you wouldn’t think a documentary about Liberia could be uplifting. Not until recently, anyway. That coastal West African nation, founded by freed American slaves halfway through the 19th century, practically bled to death by its own hand at the close of the 20th, while presided over by one of modern Africa’s most horrible despots (and unfortunately that’s really saying something).\u003c/p>\n\u003cp>Under Liberia’s warlord-tyrant president Charles Taylor, government-sanctioned rape, torture, mutilation and murder were commonplace — propagated mostly through ragtag, street-roaming swarms of drug-addled tweens with Kalashnikovs. When a rebel group, the Liberians United for Reconciliation and Democracy, rose to oppose Taylor, it too swiftly became an agent of barbarity.\u003c/p>\n\u003cp>“Nobody can bring war against me. I’m war itself,” Taylor once bragged. And he was right.\u003c/p>\n\u003cp>So a group of desperate, astonishingly brave Liberian women tried something else. Instead of bringing war, they brought peace. They demonstrated. They withheld sex from their husbands. They left politics and religious differences out of it. They took to the radio, asking, simply, “Are you sick and tired of war?”\u003c/p>\n\u003cp>Yes, under the circumstances, it sounds preposterous. But the basic idea is at least as old as Aristophanes’ \u003cb>Lysistrata\u003c/b>, which played it for bawdy satirical comedy: Men start wars and women stop them. Gini Reticker’s documentary \u003cb>Pray the Devil Back to Hell\u003c/b>, has the privilege of presenting the idea as more or less a matter of fact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reticker’s straightforward, narrowly focused reconstruction mixes current interviews with various scraps of archival footage — including the chilling snippet in which Taylor made that aforementioned boast, and just enough glimpses of the violence and its aftermath to set the proper stakes.\u003c/p>\n\u003cp>The arresting montage of vivid graffiti-inspired illustrations over her opening credits tips us off to Reticker’s direct presentation and ultimately affirming tone: No, this won’t be another gravely hectoring chore of a documentary about Africa’s ongoing affliction with something like the opposite of civilization. Nor will it be a dazzler cinematically. Nor will it need to be.\u003c/p>\n\u003cp>Instead, social worker Leymah Gbowee talks plainly and modestly about how she started a women’s movement (of Christians and Muslims alike), got the warmongers’ attention, helped get Taylor deposed and eventually helped make it possible for Liberia to elect Ellen Johnson-Sirleaf, Africa’s first female head of state, in 2005.\u003c/p>\n\u003cp>“The UN didn’t know what to do,” Gbowee recalls of the uneasy moment when a shattered Liberia finally got the world’s official attention. “Fortunately for them, the women were there.”\u003c/p>\n\u003cp>In hindsight, Gbowee’s story — and by no means is it hers alone — seems so remarkable that it almost had to become a film. Perhaps \u003cb>Pray the Devil Back to Hell\u003c/b> will not be the last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Pray the Devil Back to Hell\u003c/b> is now playing at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://wwwredvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.redvicmoviehouse.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 530,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052886,
"excerpt": "There's no polite way to say this, but you wouldn't think a documentary about Liberia could be uplifting.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "There's no polite way to say this, but you wouldn't think a documentary about Liberia could be uplifting.",
"title": "Pray the Devil Back to Hell | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pray the Devil Back to Hell",
"datePublished": "2008-12-11T16:29:20-08:00",
"dateModified": "2024-01-12T01:48:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pray_the_devil_back_to_hell",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23789/pray_the_devil_back_to_hell",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no polite way to say this, but you wouldn’t think a documentary about Liberia could be uplifting. Not until recently, anyway. That coastal West African nation, founded by freed American slaves halfway through the 19th century, practically bled to death by its own hand at the close of the 20th, while presided over by one of modern Africa’s most horrible despots (and unfortunately that’s really saying something).\u003c/p>\n\u003cp>Under Liberia’s warlord-tyrant president Charles Taylor, government-sanctioned rape, torture, mutilation and murder were commonplace — propagated mostly through ragtag, street-roaming swarms of drug-addled tweens with Kalashnikovs. When a rebel group, the Liberians United for Reconciliation and Democracy, rose to oppose Taylor, it too swiftly became an agent of barbarity.\u003c/p>\n\u003cp>“Nobody can bring war against me. I’m war itself,” Taylor once bragged. And he was right.\u003c/p>\n\u003cp>So a group of desperate, astonishingly brave Liberian women tried something else. Instead of bringing war, they brought peace. They demonstrated. They withheld sex from their husbands. They left politics and religious differences out of it. They took to the radio, asking, simply, “Are you sick and tired of war?”\u003c/p>\n\u003cp>Yes, under the circumstances, it sounds preposterous. But the basic idea is at least as old as Aristophanes’ \u003cb>Lysistrata\u003c/b>, which played it for bawdy satirical comedy: Men start wars and women stop them. Gini Reticker’s documentary \u003cb>Pray the Devil Back to Hell\u003c/b>, has the privilege of presenting the idea as more or less a matter of fact.\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>Reticker’s straightforward, narrowly focused reconstruction mixes current interviews with various scraps of archival footage — including the chilling snippet in which Taylor made that aforementioned boast, and just enough glimpses of the violence and its aftermath to set the proper stakes.\u003c/p>\n\u003cp>The arresting montage of vivid graffiti-inspired illustrations over her opening credits tips us off to Reticker’s direct presentation and ultimately affirming tone: No, this won’t be another gravely hectoring chore of a documentary about Africa’s ongoing affliction with something like the opposite of civilization. Nor will it be a dazzler cinematically. Nor will it need to be.\u003c/p>\n\u003cp>Instead, social worker Leymah Gbowee talks plainly and modestly about how she started a women’s movement (of Christians and Muslims alike), got the warmongers’ attention, helped get Taylor deposed and eventually helped make it possible for Liberia to elect Ellen Johnson-Sirleaf, Africa’s first female head of state, in 2005.\u003c/p>\n\u003cp>“The UN didn’t know what to do,” Gbowee recalls of the uneasy moment when a shattered Liberia finally got the world’s official attention. “Fortunately for them, the women were there.”\u003c/p>\n\u003cp>In hindsight, Gbowee’s story — and by no means is it hers alone — seems so remarkable that it almost had to become a film. Perhaps \u003cb>Pray the Devil Back to Hell\u003c/b> will not be the last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Pray the Devil Back to Hell\u003c/b> is now playing at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://wwwredvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.redvicmoviehouse.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23789/pray_the_devil_back_to_hell",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023789",
"label": "arts"
},
"arts_23786": {
"type": "posts",
"id": "arts_23786",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23786",
"score": null,
"sort": [
1229040840000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1229040840,
"format": "standard",
"title": "Requiem for a Lightweight: Frost/Nixon",
"headTitle": "Requiem for a Lightweight: Frost/Nixon | KQED",
"content": "\u003cp>Ron Howard’s tedious and pretentious \u003cb>Frost/Nixon\u003c/b> is misconceived on so many levels, it’s a tossup where to begin. Perhaps with the movie’s biggest miscalculation, which is figuring audiences give a hoot about a 30-year-old turning point in a cocky, callow British television personality’s career.\u003c/p>\n\u003cp>Ah, but you thought this Hollywood adaptation of Peter Morgan’s play was less about bushy-tailed talk-show host David Frost than disgraced former Pres. Richard Millhouse Nixon. Indeed, the film’s lone selling point is Frank Langella’s beautifully mannered and compulsively watchable performance. It’s a nifty depiction of a rarefied breed of sharp-witted shark, but it’s hardly a close approximation of Nixon. Langella bears very little physical resemblance to the jowly one, and his voice has none of the jittery intensity and precious little of the oiliness that defined our (until recently) most-despised Chief Executive.\u003c/p>\n\u003cp>Langella and Michael Sheen reprise the roles they created on the stage in London and New York, but something essential is lost in translation. The drama surrounding Frost’s 1977 series of television interviews with Nixon was palpable in the theater, but it’s banal and contrived onscreen. We could care less about the financial risk Frost took by proceeding without enough backing from sponsors — not least because we know Sir David Frost, as he is known today, made out just fine — and the showdown between the TV lightweight and the political heavyweight isn’t quite the kind of underdog story that inspires mythic poetry.\u003c/p>\n\u003cp>What’s truly annoying, however, is Howard’s lugubrious pacing. The first third of the movie, where we get to know Frost and the groundwork for the interviews is laid, should be bright, buoyant and bouncy, reflecting the joie de vivre of a carefree playboy. (I’m thinking of the sunny briskness of the opening reels of Spielberg’s \u003cb>Catch Me If You Can\u003c/b>.) Then, with the introduction of the cave-dwelling monster (who actually lives in a San Clemente mansion overlooking the ocean), the film would take on an ominous darkness leading up to the titanic showdown.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a sense, \u003cb>Frost/Nixon\u003c/b> is the anti-\u003cb>Milk\u003c/b>. While Gus Van Sant made the most alive and vibrant film he could of the Harvey Milk saga, Howard overinflates his minor meeting with portentous pauses and sanctimonious seriousness. It’s a ridiculous and occasionally laughable approach, not to mention insulting to our intelligence. \u003cb>Frost/Nixon\u003c/b> is a con job in the first degree, and shame to any awards voters who are taken in by it.\u003c/p>\n\u003cp>When all’s said and done, the movie’s lacquered finish, even enhanced with some heavy-handed Vietnam-Iraq parallels, isn’t enough to obscure the fact that the Frost-Nixon conversations are a tiny footnote in history with little contemporary resonance. Only a filmmaker who thinks he’s a contenda would turn a footnote into the high-toned hokum of \u003cb>Frost/Nixon\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frost/Nixon opens Friday, December 12, 2008 in San Francisco, and everywhere on Dec. 25.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 534,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052887,
"excerpt": "Ron Howard's tedious and pretentious \u003cb>Frost/Nixon\u003c/b> is misconceived on so many levels, it's a tossup where to begin.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ron Howard's tedious and pretentious Frost/Nixon is misconceived on so many levels, it's a tossup where to begin.",
"title": "Requiem for a Lightweight: Frost/Nixon | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Requiem for a Lightweight: Frost/Nixon",
"datePublished": "2008-12-11T16:14:00-08:00",
"dateModified": "2024-01-12T01:48:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "requiem_for_a_lightweight_frostnixon",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23786/requiem_for_a_lightweight_frostnixon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ron Howard’s tedious and pretentious \u003cb>Frost/Nixon\u003c/b> is misconceived on so many levels, it’s a tossup where to begin. Perhaps with the movie’s biggest miscalculation, which is figuring audiences give a hoot about a 30-year-old turning point in a cocky, callow British television personality’s career.\u003c/p>\n\u003cp>Ah, but you thought this Hollywood adaptation of Peter Morgan’s play was less about bushy-tailed talk-show host David Frost than disgraced former Pres. Richard Millhouse Nixon. Indeed, the film’s lone selling point is Frank Langella’s beautifully mannered and compulsively watchable performance. It’s a nifty depiction of a rarefied breed of sharp-witted shark, but it’s hardly a close approximation of Nixon. Langella bears very little physical resemblance to the jowly one, and his voice has none of the jittery intensity and precious little of the oiliness that defined our (until recently) most-despised Chief Executive.\u003c/p>\n\u003cp>Langella and Michael Sheen reprise the roles they created on the stage in London and New York, but something essential is lost in translation. The drama surrounding Frost’s 1977 series of television interviews with Nixon was palpable in the theater, but it’s banal and contrived onscreen. We could care less about the financial risk Frost took by proceeding without enough backing from sponsors — not least because we know Sir David Frost, as he is known today, made out just fine — and the showdown between the TV lightweight and the political heavyweight isn’t quite the kind of underdog story that inspires mythic poetry.\u003c/p>\n\u003cp>What’s truly annoying, however, is Howard’s lugubrious pacing. The first third of the movie, where we get to know Frost and the groundwork for the interviews is laid, should be bright, buoyant and bouncy, reflecting the joie de vivre of a carefree playboy. (I’m thinking of the sunny briskness of the opening reels of Spielberg’s \u003cb>Catch Me If You Can\u003c/b>.) Then, with the introduction of the cave-dwelling monster (who actually lives in a San Clemente mansion overlooking the ocean), the film would take on an ominous darkness leading up to the titanic showdown.\u003c/p>\n\u003cp>\u003c/p>\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 a sense, \u003cb>Frost/Nixon\u003c/b> is the anti-\u003cb>Milk\u003c/b>. While Gus Van Sant made the most alive and vibrant film he could of the Harvey Milk saga, Howard overinflates his minor meeting with portentous pauses and sanctimonious seriousness. It’s a ridiculous and occasionally laughable approach, not to mention insulting to our intelligence. \u003cb>Frost/Nixon\u003c/b> is a con job in the first degree, and shame to any awards voters who are taken in by it.\u003c/p>\n\u003cp>When all’s said and done, the movie’s lacquered finish, even enhanced with some heavy-handed Vietnam-Iraq parallels, isn’t enough to obscure the fact that the Frost-Nixon conversations are a tiny footnote in history with little contemporary resonance. Only a filmmaker who thinks he’s a contenda would turn a footnote into the high-toned hokum of \u003cb>Frost/Nixon\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frost/Nixon opens Friday, December 12, 2008 in San Francisco, and everywhere on Dec. 25.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23786/requiem_for_a_lightweight_frostnixon",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023786",
"label": "arts"
},
"arts_23783": {
"type": "posts",
"id": "arts_23783",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23783",
"score": null,
"sort": [
1229029384000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1229029384,
"format": "standard",
"title": "Quebec Film Week",
"headTitle": "Quebec Film Week | KQED",
"content": "\u003cp>First, consider the concepts: A near-future dystopia, in which some bureaucratic functionary’s fantasy life begets corrosive social satire. A tale of late-’60s suburban dysfunction, as viewed through the prism of adolescence. A documentary about how climate change directly threatens even the scientists who study it. A stylish, crisscrossing narrative of lonely hearts in isolation, almost but not quite coming together.\u003c/p>\n\u003cp>This is just for starters.\u003c/p>\n\u003cp>Had they been homegrown, their promise might be muted by our built-up aversion to the obsequiously “indie,” a reasonable fear of ruination via that bad Tinseltown habit of always trying too hard.\u003c/p>\n\u003cp>But these films — Denys Arcand’s \u003cb>The Age of Ignorance\u003c/b>, Léa Pool’s \u003cb>Mommy Is at the Hairdresser’s\u003c/b>, Jean Lemire’s \u003cb>The Last Continent\u003c/b> and Stéphane Lafleur’s feature debut, \u003cb>Continental, a Film Without Guns\u003c/b>, respectively, have a different sort of regional vitality. They all hail from Québec, a province in which matters of independence and proper cultural sovereignty are not taken lightly.\u003c/p>\n\u003cp>These and three more impressively varied contemporary works — plus Claude Jutra’s beloved Québecquois benchmark \u003cb>Mon Oncle Antoine\u003c/b>, from 1971, round out \u003cb>Québec Film Week\u003c/b>, a new offering from the San Francisco Film Society and another of its brief, potent, highly praise-worthy and regionally specific-mini fests, continuing through December 14, 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, in the same way it’s unwise to worry about their possible infection with American movie tropes, so it is to generalize about these films’ regionalist traits. But here goes. Preferring candor to grandeur, knowingness to vanity, the movies in this bunch show a tendency toward the wry, a restrained sort of sophistication that might even seem aloof — at least, that is, until its emotional power sneaks up on us and pounces.\u003c/p>\n\u003cp>Take, for instance, the forlorn young hotel clerk (Fanny Mallette) in \u003cb>Continental, A Film Without Guns\u003c/b>, who finally forces herself to go out to party, only to drop somebody else’s baby on the floor while there. Strange as it may sound, the cinema of Québec — surprising, beguiling, ultimately appealing — could not ask for a better emissary. And she is only one of many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Québec Film Week\u003c/b> runs through December 14, 2008, at the Opera Plaza Cinema in San Francisco. Half of the showcased films will have special guests in attendance, including \u003cb>The Last Continent\u003c/b> director Lemire and \u003cb>Continental?\u003c/b> director Lafleur. For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 434,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052888,
"excerpt": "First, consider the concepts: A near-future dystopia, in which some bureaucratic functionary's fantasy life begets corrosive social satire. A tale of late-'60s suburban dysfunction, as viewed through the prism of adolescence. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "First, consider the concepts: A near-future dystopia, in which some bureaucratic functionary's fantasy life begets corrosive social satire. A tale of late-'60s suburban dysfunction, as viewed through the prism of adolescence. ",
"title": "Quebec Film Week | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Quebec Film Week",
"datePublished": "2008-12-11T13:03:04-08:00",
"dateModified": "2024-01-12T01:48:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "quebec_film_week",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"path": "/arts/23783/quebec_film_week",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, consider the concepts: A near-future dystopia, in which some bureaucratic functionary’s fantasy life begets corrosive social satire. A tale of late-’60s suburban dysfunction, as viewed through the prism of adolescence. A documentary about how climate change directly threatens even the scientists who study it. A stylish, crisscrossing narrative of lonely hearts in isolation, almost but not quite coming together.\u003c/p>\n\u003cp>This is just for starters.\u003c/p>\n\u003cp>Had they been homegrown, their promise might be muted by our built-up aversion to the obsequiously “indie,” a reasonable fear of ruination via that bad Tinseltown habit of always trying too hard.\u003c/p>\n\u003cp>But these films — Denys Arcand’s \u003cb>The Age of Ignorance\u003c/b>, Léa Pool’s \u003cb>Mommy Is at the Hairdresser’s\u003c/b>, Jean Lemire’s \u003cb>The Last Continent\u003c/b> and Stéphane Lafleur’s feature debut, \u003cb>Continental, a Film Without Guns\u003c/b>, respectively, have a different sort of regional vitality. They all hail from Québec, a province in which matters of independence and proper cultural sovereignty are not taken lightly.\u003c/p>\n\u003cp>These and three more impressively varied contemporary works — plus Claude Jutra’s beloved Québecquois benchmark \u003cb>Mon Oncle Antoine\u003c/b>, from 1971, round out \u003cb>Québec Film Week\u003c/b>, a new offering from the San Francisco Film Society and another of its brief, potent, highly praise-worthy and regionally specific-mini fests, continuing through December 14, 2008.\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>Now, in the same way it’s unwise to worry about their possible infection with American movie tropes, so it is to generalize about these films’ regionalist traits. But here goes. Preferring candor to grandeur, knowingness to vanity, the movies in this bunch show a tendency toward the wry, a restrained sort of sophistication that might even seem aloof — at least, that is, until its emotional power sneaks up on us and pounces.\u003c/p>\n\u003cp>Take, for instance, the forlorn young hotel clerk (Fanny Mallette) in \u003cb>Continental, A Film Without Guns\u003c/b>, who finally forces herself to go out to party, only to drop somebody else’s baby on the floor while there. Strange as it may sound, the cinema of Québec — surprising, beguiling, ultimately appealing — could not ask for a better emissary. And she is only one of many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Québec Film Week\u003c/b> runs through December 14, 2008, at the Opera Plaza Cinema in San Francisco. Half of the showcased films will have special guests in attendance, including \u003cb>The Last Continent\u003c/b> director Lemire and \u003cb>Continental?\u003c/b> director Lafleur. For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23783/quebec_film_week",
"authors": [
"92"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023783",
"label": "arts"
},
"arts_23740": {
"type": "posts",
"id": "arts_23740",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23740",
"score": null,
"sort": [
1227640235000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1227640235,
"format": "standard",
"title": "Milk",
"headTitle": "Milk | KQED",
"content": "\u003cp>There’s little debate that the high-profile, star-driven \u003cb>Milk\u003c/b> is not just the San Francisco movie of the year, but the decade. What’s less certain is the potency and impact of Gus Van Sant’s labor of love, in the Bay Area and beyond, this holiday and awards season and gazing into the future.\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> is a solid, even stirring piece of work, alive and streetwise and politically engaged. But for anyone who knows Rob Epstein and Richard Schmiechen’s powerhouse 1984 documentary \u003cb>The Times of Harvey Milk\u003c/b>, the narrative feature rarely escapes its shadow. (That’s the one reaction that may not especially bother Van Sant, who openly admits he had concerns going in about equaling the emotional wallop of the 1984 doc.) Moviegoers unfamiliar with the non-fiction film, of course, won’t sit there comparing the re-creation to the real thing, or Sean Penn to Harvey Milk.\u003c/p>\n\u003cp>In fact, Penn more than acquits himself, embodying the charm, enthusiasm and persistence so essential to enrolling hundreds and hundreds of people in campaigns for public office and gay rights. My colleague Mark Taylor has written perceptively about the fatal flaw in biopics, namely that the actor (even a movie star) can’t quite replicate the magnetic charisma that made his character (Ray Charles, Johnny Cash or Darby Crash in \u003ca href=\"/arts/movies/article.jsp?essid=23289\">What We Do Is Secret\u003c/a>) so iconic. Penn’s got that spark, alright, and more: The heart of his performance is the way he throws himself into the character, unlike the overly cool Jamie Foxx or the moodily introspective Joaquin Phoenix, withholding nothing.\u003c/p>\n\u003cp>My fundamental problem with \u003cb>Milk\u003c/b> may simply be that familiarity breeds disbelief. I had no foreknowledge of the real Erin Brockovich and Dr. Alfred Kinsey, or of the formative years of Malcolm X and Ray Charles, and I surrendered to the worlds those films created. I wasn’t here in 1978, but \u003cb>Milk\u003c/b> was shot in places and spaces I semi-regularly visit, on Castro Street and in and around City Hall. So it’s infinitely harder to transport myself back in time, despite all the good efforts of Van Sant and his production team to replicate the San Francisco of the ’70s.\u003c/p>\n\u003cp>It’s worth noting that \u003cb>Milk\u003c/b> delves much further into its subject’s personal life, and the gay lifestyle (if one can use that phrase in a non-pejorative manner), than Epstein and Schmiechen’s documentary. Van Sant and his distributor obviously want \u003cb>Milk\u003c/b> to cross over and connect with straight audiences, but the director doesn’t sell out the reality of ’70s gay promiscuity or the purity of queer love in a misbegotten attempt to avoid latent heterosexual queasiness. (I don’t think \u003cb>Brokeback Mountain\u003c/b> eradicated that malaise, any more than Obama’s election vanquished racism.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experimental-experiential Van Sant of \u003cb>Elephant\u003c/b>, \u003cb>Last Days\u003c/b> and \u003cb>Paranoid Park\u003c/b> reverts to the more conventional narrative structure of his fab \u003cb>To Die For\u003c/b>, using a key character to relate the story in an extended flashback. A concession to the mainstream? You betcha. Could the film have used some of that beauty, poetry and freedom? I daresay yes. Does the structure work? That’s a subjective call, but this fan of the documentary felt that the director and screenwriter Dustin Lance Black overused Milk’s poignant audiotape (“to be played only in the event of my assassination”) to decreasing returns.\u003c/p>\n\u003cp>No doubt you have detected a hefty measure of ambivalence on my part toward \u003cb>Milk\u003c/b>, which is not the natural or most comfortable position for a critic. I’m not overly concerned in this case because \u003cb>Milk\u003c/b>‘s importance and value reside not in critical consensus but in the degree to which the film is embraced by filmgoers. San Francisco audiences, gay viewers, video-store patrons, high school students. Yes, I’m well aware the movie will get the kind of visibility at Blockbuster (video stores do still exist, yes?) that the documentary never did.\u003c/p>\n\u003cp>So I turn the mic over to you. Does \u003cb>Milk\u003c/b> honor its subject, San Francisco history and the larger cause of gay rights? Does it speak to the dominant majority of straight audiences? Is it a fleeting morsel of pop culture, given a box-office boost by the unexpected contemporary parallel of California Proposition 8, or a film for the ages?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> opens Wed., November 26, 2008 at the Castro Theatre — with two special preview screenings Tuesday, November 25, Friday, November 28 at the Embarcadero and Friday, December 5 at the California and the Piedmont in the East Bay.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 790,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052901,
"excerpt": "There's little debate that the high-profile, star-driven \u003cb>Milk\u003c/b> is not just the San Francisco movie of the year, but the decade.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "There's little debate that the high-profile, star-driven Milk is not just the San Francisco movie of the year, but the decade.",
"title": "Milk | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Milk",
"datePublished": "2008-11-25T11:10:35-08:00",
"dateModified": "2024-01-12T01:48:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "milk",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23740/milk",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s little debate that the high-profile, star-driven \u003cb>Milk\u003c/b> is not just the San Francisco movie of the year, but the decade. What’s less certain is the potency and impact of Gus Van Sant’s labor of love, in the Bay Area and beyond, this holiday and awards season and gazing into the future.\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> is a solid, even stirring piece of work, alive and streetwise and politically engaged. But for anyone who knows Rob Epstein and Richard Schmiechen’s powerhouse 1984 documentary \u003cb>The Times of Harvey Milk\u003c/b>, the narrative feature rarely escapes its shadow. (That’s the one reaction that may not especially bother Van Sant, who openly admits he had concerns going in about equaling the emotional wallop of the 1984 doc.) Moviegoers unfamiliar with the non-fiction film, of course, won’t sit there comparing the re-creation to the real thing, or Sean Penn to Harvey Milk.\u003c/p>\n\u003cp>In fact, Penn more than acquits himself, embodying the charm, enthusiasm and persistence so essential to enrolling hundreds and hundreds of people in campaigns for public office and gay rights. My colleague Mark Taylor has written perceptively about the fatal flaw in biopics, namely that the actor (even a movie star) can’t quite replicate the magnetic charisma that made his character (Ray Charles, Johnny Cash or Darby Crash in \u003ca href=\"/arts/movies/article.jsp?essid=23289\">What We Do Is Secret\u003c/a>) so iconic. Penn’s got that spark, alright, and more: The heart of his performance is the way he throws himself into the character, unlike the overly cool Jamie Foxx or the moodily introspective Joaquin Phoenix, withholding nothing.\u003c/p>\n\u003cp>My fundamental problem with \u003cb>Milk\u003c/b> may simply be that familiarity breeds disbelief. I had no foreknowledge of the real Erin Brockovich and Dr. Alfred Kinsey, or of the formative years of Malcolm X and Ray Charles, and I surrendered to the worlds those films created. I wasn’t here in 1978, but \u003cb>Milk\u003c/b> was shot in places and spaces I semi-regularly visit, on Castro Street and in and around City Hall. So it’s infinitely harder to transport myself back in time, despite all the good efforts of Van Sant and his production team to replicate the San Francisco of the ’70s.\u003c/p>\n\u003cp>It’s worth noting that \u003cb>Milk\u003c/b> delves much further into its subject’s personal life, and the gay lifestyle (if one can use that phrase in a non-pejorative manner), than Epstein and Schmiechen’s documentary. Van Sant and his distributor obviously want \u003cb>Milk\u003c/b> to cross over and connect with straight audiences, but the director doesn’t sell out the reality of ’70s gay promiscuity or the purity of queer love in a misbegotten attempt to avoid latent heterosexual queasiness. (I don’t think \u003cb>Brokeback Mountain\u003c/b> eradicated that malaise, any more than Obama’s election vanquished racism.)\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 experimental-experiential Van Sant of \u003cb>Elephant\u003c/b>, \u003cb>Last Days\u003c/b> and \u003cb>Paranoid Park\u003c/b> reverts to the more conventional narrative structure of his fab \u003cb>To Die For\u003c/b>, using a key character to relate the story in an extended flashback. A concession to the mainstream? You betcha. Could the film have used some of that beauty, poetry and freedom? I daresay yes. Does the structure work? That’s a subjective call, but this fan of the documentary felt that the director and screenwriter Dustin Lance Black overused Milk’s poignant audiotape (“to be played only in the event of my assassination”) to decreasing returns.\u003c/p>\n\u003cp>No doubt you have detected a hefty measure of ambivalence on my part toward \u003cb>Milk\u003c/b>, which is not the natural or most comfortable position for a critic. I’m not overly concerned in this case because \u003cb>Milk\u003c/b>‘s importance and value reside not in critical consensus but in the degree to which the film is embraced by filmgoers. San Francisco audiences, gay viewers, video-store patrons, high school students. Yes, I’m well aware the movie will get the kind of visibility at Blockbuster (video stores do still exist, yes?) that the documentary never did.\u003c/p>\n\u003cp>So I turn the mic over to you. Does \u003cb>Milk\u003c/b> honor its subject, San Francisco history and the larger cause of gay rights? Does it speak to the dominant majority of straight audiences? Is it a fleeting morsel of pop culture, given a box-office boost by the unexpected contemporary parallel of California Proposition 8, or a film for the ages?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> opens Wed., November 26, 2008 at the Castro Theatre — with two special preview screenings Tuesday, November 25, Friday, November 28 at the Embarcadero and Friday, December 5 at the California and the Piedmont in the East Bay.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23740/milk",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023740",
"label": "arts"
},
"arts_23709": {
"type": "posts",
"id": "arts_23709",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23709",
"score": null,
"sort": [
1227219711000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1227219711,
"format": "standard",
"title": "Half a dozen dirty things people have said about Robert Aldrich",
"headTitle": "Half a dozen dirty things people have said about Robert Aldrich | KQED",
"content": "\u003cp>Judging by the thirty feature films he left us with (and certainly he has been judged by them), Hollywood director Robert Aldrich’s enduring legacy will be the fact of having endured his legacy.\u003c/p>\n\u003cp>Probably best known for \u003cb>The Dirty Dozen\u003c/b>, Aldrich made his name in the 1950s and ’60s, piling up variously pulp-inclined genre films — and all manner of backhanded compliments, faint-praise damnings and even flat-out insults from critics to go with them.\u003c/p>\n\u003cp>So the Pacific Film Archive’s month-long survey of his lesser known work, \u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> should be as fun and worthy and illuminating as it is to imagine how challenging it would be for today’s marketeers to extract selling-point slogans from those movies’ reviews.\u003c/p>\n\u003cp>Oh sure, the critics have admired and commended Aldrich too. But the compliments always seemed so intriguingly conditional, as when \u003ci>Time Out New York\u003c/i> called 1961’s \u003cb>The Last Sunset\u003c/b> “more lyrical than Aldrich’s usual macho posturings,” or Pauline Kael observed of 1955’s \u003cb>The Big Knife\u003c/b> that “Robert Aldrich directed, overdoing everything in sight; he just about turns hysteria into a style.”\u003c/p>\n\u003cp>It was also Kael who noted, of 1965’s \u003cb>Hush…Hush, Sweet Charlotte\u003c/b>, that “a lot of people seemed to enjoy the spectacle of [Bette] Davis crawling and howling and looking wildly repulsive.” And, even less forgivingly, of 1977’s \u003cb>Twilight’s Last Gleaming\u003c/b>, that “…it falls apart, and drags on and on…it suggests an overextended episode of a TV series, and the attempts at wit are pathetically gross.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even local critic David Thomson, whose definitive \u003cb>New Biographical Dictionary of Film\u003c/b> includes a perceptive entry on Aldrich and who will be on hand at the PFA on December 6th to introduce 1955’s \u003cb>Kiss Me Deadly\u003c/b> and 1956’s \u003cb>Attack!\u003c/b>, called 1968’s \u003cb>The Killing of Sister George\u003c/b> one of Aldrich’s several “horribly calculated, smirking exploitations of sub-gothic emotional horror.”\u003c/p>\n\u003cp>Never mind those Aldrich movies the PFA deliberately \u003ci>didn’t\u003c/i> choose for this retrospective, like \u003cb>What Ever Happened to Baby Jane?\u003c/b> Don’t ask.\u003c/p>\n\u003cp>Other films in this series will be introduced by Aldrich’s daughter Adell, who may even have at least a few unequivocally nice things to say about him.\u003c/p>\n\u003cp>Not that nice gets you anywhere in this world, as Aldrich seemed quite clearly to understand. In fact, being so appalling can be sort of appealing; you might say that Aldrich’s habit of confounding all the critics — of cranking up the heat and hysteria and always seeming to go just too far, and then farther still — was part of his charm. And still is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> runs from November 21 through December 20, 2008 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.bampfa.berkeley.edu.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 513,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705052907,
"excerpt": "Judging by the thirty feature films he left us with (and certainly he has been judged by them), Hollywood director Robert Aldrich's enduring legacy will be the fact of having endured his legacy.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Judging by the thirty feature films he left us with (and certainly he has been judged by them), Hollywood director Robert Aldrich's enduring legacy will be the fact of having endured his legacy.",
"title": "Half a dozen dirty things people have said about Robert Aldrich | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Half a dozen dirty things people have said about Robert Aldrich",
"datePublished": "2008-11-20T14:21:51-08:00",
"dateModified": "2024-01-12T01:48:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "half_a_dozen_dirty_things_people_have_said_about_robert_aldrich",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/",
"sticky": false,
"path": "/arts/23709/half_a_dozen_dirty_things_people_have_said_about_robert_aldrich",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Judging by the thirty feature films he left us with (and certainly he has been judged by them), Hollywood director Robert Aldrich’s enduring legacy will be the fact of having endured his legacy.\u003c/p>\n\u003cp>Probably best known for \u003cb>The Dirty Dozen\u003c/b>, Aldrich made his name in the 1950s and ’60s, piling up variously pulp-inclined genre films — and all manner of backhanded compliments, faint-praise damnings and even flat-out insults from critics to go with them.\u003c/p>\n\u003cp>So the Pacific Film Archive’s month-long survey of his lesser known work, \u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> should be as fun and worthy and illuminating as it is to imagine how challenging it would be for today’s marketeers to extract selling-point slogans from those movies’ reviews.\u003c/p>\n\u003cp>Oh sure, the critics have admired and commended Aldrich too. But the compliments always seemed so intriguingly conditional, as when \u003ci>Time Out New York\u003c/i> called 1961’s \u003cb>The Last Sunset\u003c/b> “more lyrical than Aldrich’s usual macho posturings,” or Pauline Kael observed of 1955’s \u003cb>The Big Knife\u003c/b> that “Robert Aldrich directed, overdoing everything in sight; he just about turns hysteria into a style.”\u003c/p>\n\u003cp>It was also Kael who noted, of 1965’s \u003cb>Hush…Hush, Sweet Charlotte\u003c/b>, that “a lot of people seemed to enjoy the spectacle of [Bette] Davis crawling and howling and looking wildly repulsive.” And, even less forgivingly, of 1977’s \u003cb>Twilight’s Last Gleaming\u003c/b>, that “…it falls apart, and drags on and on…it suggests an overextended episode of a TV series, and the attempts at wit are pathetically gross.”\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>Even local critic David Thomson, whose definitive \u003cb>New Biographical Dictionary of Film\u003c/b> includes a perceptive entry on Aldrich and who will be on hand at the PFA on December 6th to introduce 1955’s \u003cb>Kiss Me Deadly\u003c/b> and 1956’s \u003cb>Attack!\u003c/b>, called 1968’s \u003cb>The Killing of Sister George\u003c/b> one of Aldrich’s several “horribly calculated, smirking exploitations of sub-gothic emotional horror.”\u003c/p>\n\u003cp>Never mind those Aldrich movies the PFA deliberately \u003ci>didn’t\u003c/i> choose for this retrospective, like \u003cb>What Ever Happened to Baby Jane?\u003c/b> Don’t ask.\u003c/p>\n\u003cp>Other films in this series will be introduced by Aldrich’s daughter Adell, who may even have at least a few unequivocally nice things to say about him.\u003c/p>\n\u003cp>Not that nice gets you anywhere in this world, as Aldrich seemed quite clearly to understand. In fact, being so appalling can be sort of appealing; you might say that Aldrich’s habit of confounding all the critics — of cranking up the heat and hysteria and always seeming to go just too far, and then farther still — was part of his charm. And still is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> runs from November 21 through December 20, 2008 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23709/half_a_dozen_dirty_things_people_have_said_about_robert_aldrich",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023709",
"label": "arts"
},
"arts_23686": {
"type": "posts",
"id": "arts_23686",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23686",
"score": null,
"sort": [
1226988915000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1226988915,
"format": "standard",
"title": "Nerdcore Rising",
"headTitle": "Nerdcore Rising | KQED",
"content": "\u003cp>OK, it’s a fair point that conscious hip-hop has become a little bit pious and practically oppressive. And if Talib Kweli wants to call his record \u003cb>A Prisoner of Consciousness\u003c/b>, fine; he’s earned it. But even alternatives have alternatives. So here’s one: Instead of conscious hip-hop, where the flow is ever-so-smooth and the vibe is soulful and socially aware, how about self-conscious hip-hop, where the flow is spastic, the vibe computer-savvy and socially awkward?\u003c/p>\n\u003cp>We are talking here about making rap safe for web-addicted white-boy shut-ins from college towns everywhere. Oh, they are players, all right. Players of \u003ca href=\"http://www.wizards.com/magic/\" target=\"offsite\" rel=\"noopener\">Magic: The Gathering\u003c/a> and \u003ca href=\"https://signup.worldofwarcraft.com/trial/index.html\" target=\"offsite\" rel=\"noopener\">World of Warcraft\u003c/a>. We are talking here about nerdcore.\u003c/p>\n\u003cp>And we are watching in wonder and listening to the genre’s so-called godfather, the Bay Area-spawned MC Frontalot (née Damian Hess), as he spits the hook in “Braggadocio,” a signature track: “Now it’s time for a little braggadocio/while I swing my arms like Ralph Macchio.”\u003c/p>\n\u003cp>It works on several levels.\u003c/p>\n\u003cp>The occasion for this drolly enlightening experience is comedian/filmmaker Negin Farsad’s documentary \u003cb>Nerdcore Rising\u003c/b>, which plays for two days this week at the Red Vic. See it if for no other reason than written description is unable to do it justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, Frontalot and his fellow geekstas haven’t exactly reinvented or revolutionized hip-hop — no more than Farsad has transfigured the band-bio documentary. But in each case, they’ve made it theirs. A couple of years ago, Farsad tagged along with the Frontalot crew’s first tentative national tour, in which were addressed such quandaries as why music made mostly on computers in relative isolation should be performed live; how to tie a proper necktie; what to do when the opening act gets fake blood all over your gear; whether nerdcore is viable as anything other than a novelty act or a self-contained sub-subculture; what it means when not everyone’s a fan; and what it means when someone actually is.\u003c/p>\n\u003cp>Like, seriously. There’s that sweet girl from Florida who says she’s not a groupie but willingly drives 19 hours to catch a Frontalot show. And there’s a wonderfully tender moment when the musicians sort out their collective feelings about her — first having a little fun at her expense, then catching themselves and feeling ashamed and humbled and appreciative, then realizing she makes them nervous because, well, all girls make them nervous.\u003c/p>\n\u003cp>Remember, this is a band whose song titles include “I Hate Your Blog” and “Yellow Lasers,” and whose completely dorktastic pre-show rituals include a group Wookie call. Oh yes they did. As keyboardist Gaby wisely observes, “There’s no real for us to keep. I think that’s important.”\u003c/p>\n\u003cp>Farsad understands that the tribulations of adolescent male life plus the creative democratization of web publishing and desktop music studios equals something rather precious. She also gathers lots of pithy commentary to put the phenomenon in perspective. Weird Al Yankovic weighs in with a validation. De La Soul producer Prince Paul risks serious cred shrinkage with a cautious allowance that nerdcore’s fundamental sincerity is in fact the old-school way. “For those guys to do what they do really takes a lot of guts,” he says. But besides being brave, they’re honest, and “to me that’s true hip-hop.” And former Dead Kennedys frontman Jello Biafra cautions, “Be careful with your own stereotype; it could become a prison.”\u003c/p>\n\u003cp>True dat, as they say. If Frontalot isn’t careful, he could become a prisoner of self-consciousness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Nerdcore Rising\u003c/b> plays Tuesday and Wednesday, November 18 and 19, 2008, at the Red Vic Movie House in San Francisco, with MC Frontalot and director Negin Farsad in attendance. For \u003ca href=\"http://www.redvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 686,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052913,
"excerpt": "Instead of conscious hip-hop, where the flow is ever-so-smooth and the vibe is soulful and socially aware, how about self-conscious hip-hop, where the flow is spastic, the vibe computer-savvy and socially awkward?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Instead of conscious hip-hop, where the flow is ever-so-smooth and the vibe is soulful and socially aware, how about self-conscious hip-hop, where the flow is spastic, the vibe computer-savvy and socially awkward?",
"title": "Nerdcore Rising | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nerdcore Rising",
"datePublished": "2008-11-17T22:15:15-08:00",
"dateModified": "2024-01-12T01:48:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nerdcore_rising",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23686/nerdcore_rising",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, it’s a fair point that conscious hip-hop has become a little bit pious and practically oppressive. And if Talib Kweli wants to call his record \u003cb>A Prisoner of Consciousness\u003c/b>, fine; he’s earned it. But even alternatives have alternatives. So here’s one: Instead of conscious hip-hop, where the flow is ever-so-smooth and the vibe is soulful and socially aware, how about self-conscious hip-hop, where the flow is spastic, the vibe computer-savvy and socially awkward?\u003c/p>\n\u003cp>We are talking here about making rap safe for web-addicted white-boy shut-ins from college towns everywhere. Oh, they are players, all right. Players of \u003ca href=\"http://www.wizards.com/magic/\" target=\"offsite\" rel=\"noopener\">Magic: The Gathering\u003c/a> and \u003ca href=\"https://signup.worldofwarcraft.com/trial/index.html\" target=\"offsite\" rel=\"noopener\">World of Warcraft\u003c/a>. We are talking here about nerdcore.\u003c/p>\n\u003cp>And we are watching in wonder and listening to the genre’s so-called godfather, the Bay Area-spawned MC Frontalot (née Damian Hess), as he spits the hook in “Braggadocio,” a signature track: “Now it’s time for a little braggadocio/while I swing my arms like Ralph Macchio.”\u003c/p>\n\u003cp>It works on several levels.\u003c/p>\n\u003cp>The occasion for this drolly enlightening experience is comedian/filmmaker Negin Farsad’s documentary \u003cb>Nerdcore Rising\u003c/b>, which plays for two days this week at the Red Vic. See it if for no other reason than written description is unable to do it justice.\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>No, Frontalot and his fellow geekstas haven’t exactly reinvented or revolutionized hip-hop — no more than Farsad has transfigured the band-bio documentary. But in each case, they’ve made it theirs. A couple of years ago, Farsad tagged along with the Frontalot crew’s first tentative national tour, in which were addressed such quandaries as why music made mostly on computers in relative isolation should be performed live; how to tie a proper necktie; what to do when the opening act gets fake blood all over your gear; whether nerdcore is viable as anything other than a novelty act or a self-contained sub-subculture; what it means when not everyone’s a fan; and what it means when someone actually is.\u003c/p>\n\u003cp>Like, seriously. There’s that sweet girl from Florida who says she’s not a groupie but willingly drives 19 hours to catch a Frontalot show. And there’s a wonderfully tender moment when the musicians sort out their collective feelings about her — first having a little fun at her expense, then catching themselves and feeling ashamed and humbled and appreciative, then realizing she makes them nervous because, well, all girls make them nervous.\u003c/p>\n\u003cp>Remember, this is a band whose song titles include “I Hate Your Blog” and “Yellow Lasers,” and whose completely dorktastic pre-show rituals include a group Wookie call. Oh yes they did. As keyboardist Gaby wisely observes, “There’s no real for us to keep. I think that’s important.”\u003c/p>\n\u003cp>Farsad understands that the tribulations of adolescent male life plus the creative democratization of web publishing and desktop music studios equals something rather precious. She also gathers lots of pithy commentary to put the phenomenon in perspective. Weird Al Yankovic weighs in with a validation. De La Soul producer Prince Paul risks serious cred shrinkage with a cautious allowance that nerdcore’s fundamental sincerity is in fact the old-school way. “For those guys to do what they do really takes a lot of guts,” he says. But besides being brave, they’re honest, and “to me that’s true hip-hop.” And former Dead Kennedys frontman Jello Biafra cautions, “Be careful with your own stereotype; it could become a prison.”\u003c/p>\n\u003cp>True dat, as they say. If Frontalot isn’t careful, he could become a prisoner of self-consciousness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Nerdcore Rising\u003c/b> plays Tuesday and Wednesday, November 18 and 19, 2008, at the Red Vic Movie House in San Francisco, with MC Frontalot and director Negin Farsad in attendance. For \u003ca href=\"http://www.redvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23686/nerdcore_rising",
"authors": [
"36"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023686",
"label": "arts"
},
"arts_23660": {
"type": "posts",
"id": "arts_23660",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23660",
"score": null,
"sort": [
1226609241000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1226609241,
"format": "standard",
"title": "Italian For Beginners: New Italian Cinema",
"headTitle": "Italian For Beginners: New Italian Cinema | KQED",
"content": "\u003cp>We could while away a lovely afternoon — or start a lively comments thread — debating why amazing debut records (\u003cb>The Doors\u003c/b> and \u003cb>Horses\u003c/b>, to name two) greatly outnumber brilliant first films (a list headed by \u003cb>Citizen Kane\u003c/b> and \u003cb>The 400 Blows\u003c/b>). I’ll spare you my theory until another occasion; suffice it to say that I’m reawakened every year at this time to the rarity of first-shot bull’s-eyes by the week-long festival of \u003cb>New Italian Cinema\u003c/b>, presented by the Istituto Italiano di Cultura and the San Francisco Film Society.\u003c/p>\n\u003cp>That’s not a backhanded slap at the program, which spotlights a brace of first and second-time filmmakers bookended by the latest works of veteran directors Paolo Virzi (\u003cb>Napoleon and Me\u003c/b>), Matteo Garrone (Cannes Grand Prize winner \u003cb>Gomorrah\u003c/b>) and Paolo Benvenuti (\u003cb>Puccini and the Girl\u003c/b>) on Opening and Closing Night. The five films by emerging directors that I previewed (of the seven in the program) are insightful, well-crafted snapshots of contemporary Italian life. They aren’t unforgettable masterpieces nor, frankly, unforgettable. But these directors have their fingers on the national pulse, and their atypical approaches to story and character warrant our keeping an eye out as their careers develop.\u003c/p>\n\u003cp>Carmine Amoroso’s \u003cb>Cover Boy: The Last Revolution\u003c/b>, my favorite of the bunch, follows the misadventures of a good-hearted, good-looking young Romanian making his way in Rome. Ioan is befriended by a scuffling Swiss worker a decade older and wiser and, late in the film, by a Milanese fashion photographer; paradoxically, his hard-won life lessons result from unexpected good fortune rather than the grinding humiliation heaped on most new immigrants. A subtly homoerotic undercurrent percolates through the film, adding an intriguing wisp of ambiguity.\u003c/p>\n\u003cp>Another honest young Romanian “guest worker,” a pregnant wife in need of money, propels Federico Bondi’s \u003cb>Black Sea\u003c/b> with her low-key ambition and quiet yearning. Angela manages to thaw the curmudgeonly widow she’s hired to live with and care for, gradually bridging the generation and culture gap. The last reel of this modest character sketch is overly mysterious, sabotaging the intended emotional impact with a dash of confusion.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The immigration theme extends to Claudio Cupellini’s uneven farce \u003cb>Lessons in Chocolate\u003c/b>, which might be described as the rehabilitation of a scoundrel — with a date-nut filling. The erratic script and Cupellini’s hit-and-miss pacing hobble this painfully contrived tale of an ethically challenged Perugia contractor forced to take a chocolate cooking class in place of the Egyptian worker injured on a building site. This innocuous, warm-hearted comedy is singularly adept at trivializing or ignoring every serious issue it broaches, from exploitation of immigrants to women attracted to lying losers.\u003c/p>\n\u003cp>Andrea Molaioli’s \u003cb>The Girl By the Lake\u003c/b> re-imagines the clichéd small-town murder mystery as a near-clinical study of poisoned parent-child relationships. This deliberate, low-key and quietly mesmerizing movie follows an aging detective (Toni Servillo, vaguely resembling the world-weary Armin Mueller-Stahl) as he goes about finding the killer of a lovely young woman. The film’s lone weakness — and it’s a big one — is a letdown of an ending in lieu of the payoff, and stomach punch, that we’re expecting.\u003c/p>\n\u003cp>What happens when Generation Xers discover that money can’t buy happiness, and their youth (and promise) is irretrievably gone? Toni d’Angelo’s \u003cb>A Night\u003c/b> isn’t as downbeat as all that, even if it begins with a one-car accident, a funeral home and a Naples reunion of a bunch of old friends who haven’t seen each other in years. Their nocturnal escapades provide the catalyst for neon- and strobe-lit soul-searching, but d’Angelo woefully underexplores his fertile premise. Diverting but unsatisfying, \u003cb>A Night\u003c/b>, like most of this year’s \u003cb>New Italian Cinema\u003c/b>, is best seen as a snack in preparation for the director’s hearty repast in the not-too-distant future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New Italian Cinema\u003c/b> screens Sunday, November 16 though Sunday, November 23, 2008 at the Embarcadero Center Cinemas. For \u003ca href=\"http:www.sffs.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 719,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052922,
"excerpt": "We could while away a lovely afternoon -- or start a lively comments thread -- debating why amazing debut records (\u003cb>The Doors\u003c/b> and \u003cb>Horses\u003c/b>, to name two) greatly outnumber brilliant first films (a list headed by \u003cb>Citizen Kane\u003c/b> and \u003cb>The 400 Blows\u003c/b>). ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "We could while away a lovely afternoon -- or start a lively comments thread -- debating why amazing debut records (The Doors and Horses, to name two) greatly outnumber brilliant first films (a list headed by Citizen Kane and The 400 Blows). ",
"title": "Italian For Beginners: New Italian Cinema | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Italian For Beginners: New Italian Cinema",
"datePublished": "2008-11-13T12:47:21-08:00",
"dateModified": "2024-01-12T01:48:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "italian_for_beginners_new_italian_cinema",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-festivalreport/",
"sticky": false,
"path": "/arts/23660/italian_for_beginners_new_italian_cinema",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We could while away a lovely afternoon — or start a lively comments thread — debating why amazing debut records (\u003cb>The Doors\u003c/b> and \u003cb>Horses\u003c/b>, to name two) greatly outnumber brilliant first films (a list headed by \u003cb>Citizen Kane\u003c/b> and \u003cb>The 400 Blows\u003c/b>). I’ll spare you my theory until another occasion; suffice it to say that I’m reawakened every year at this time to the rarity of first-shot bull’s-eyes by the week-long festival of \u003cb>New Italian Cinema\u003c/b>, presented by the Istituto Italiano di Cultura and the San Francisco Film Society.\u003c/p>\n\u003cp>That’s not a backhanded slap at the program, which spotlights a brace of first and second-time filmmakers bookended by the latest works of veteran directors Paolo Virzi (\u003cb>Napoleon and Me\u003c/b>), Matteo Garrone (Cannes Grand Prize winner \u003cb>Gomorrah\u003c/b>) and Paolo Benvenuti (\u003cb>Puccini and the Girl\u003c/b>) on Opening and Closing Night. The five films by emerging directors that I previewed (of the seven in the program) are insightful, well-crafted snapshots of contemporary Italian life. They aren’t unforgettable masterpieces nor, frankly, unforgettable. But these directors have their fingers on the national pulse, and their atypical approaches to story and character warrant our keeping an eye out as their careers develop.\u003c/p>\n\u003cp>Carmine Amoroso’s \u003cb>Cover Boy: The Last Revolution\u003c/b>, my favorite of the bunch, follows the misadventures of a good-hearted, good-looking young Romanian making his way in Rome. Ioan is befriended by a scuffling Swiss worker a decade older and wiser and, late in the film, by a Milanese fashion photographer; paradoxically, his hard-won life lessons result from unexpected good fortune rather than the grinding humiliation heaped on most new immigrants. A subtly homoerotic undercurrent percolates through the film, adding an intriguing wisp of ambiguity.\u003c/p>\n\u003cp>Another honest young Romanian “guest worker,” a pregnant wife in need of money, propels Federico Bondi’s \u003cb>Black Sea\u003c/b> with her low-key ambition and quiet yearning. Angela manages to thaw the curmudgeonly widow she’s hired to live with and care for, gradually bridging the generation and culture gap. The last reel of this modest character sketch is overly mysterious, sabotaging the intended emotional impact with a dash of confusion.\u003c/p>\n\u003cp>.\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 immigration theme extends to Claudio Cupellini’s uneven farce \u003cb>Lessons in Chocolate\u003c/b>, which might be described as the rehabilitation of a scoundrel — with a date-nut filling. The erratic script and Cupellini’s hit-and-miss pacing hobble this painfully contrived tale of an ethically challenged Perugia contractor forced to take a chocolate cooking class in place of the Egyptian worker injured on a building site. This innocuous, warm-hearted comedy is singularly adept at trivializing or ignoring every serious issue it broaches, from exploitation of immigrants to women attracted to lying losers.\u003c/p>\n\u003cp>Andrea Molaioli’s \u003cb>The Girl By the Lake\u003c/b> re-imagines the clichéd small-town murder mystery as a near-clinical study of poisoned parent-child relationships. This deliberate, low-key and quietly mesmerizing movie follows an aging detective (Toni Servillo, vaguely resembling the world-weary Armin Mueller-Stahl) as he goes about finding the killer of a lovely young woman. The film’s lone weakness — and it’s a big one — is a letdown of an ending in lieu of the payoff, and stomach punch, that we’re expecting.\u003c/p>\n\u003cp>What happens when Generation Xers discover that money can’t buy happiness, and their youth (and promise) is irretrievably gone? Toni d’Angelo’s \u003cb>A Night\u003c/b> isn’t as downbeat as all that, even if it begins with a one-car accident, a funeral home and a Naples reunion of a bunch of old friends who haven’t seen each other in years. Their nocturnal escapades provide the catalyst for neon- and strobe-lit soul-searching, but d’Angelo woefully underexplores his fertile premise. Diverting but unsatisfying, \u003cb>A Night\u003c/b>, like most of this year’s \u003cb>New Italian Cinema\u003c/b>, is best seen as a snack in preparation for the director’s hearty repast in the not-too-distant future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New Italian Cinema\u003c/b> screens Sunday, November 16 though Sunday, November 23, 2008 at the Embarcadero Center Cinemas. For \u003ca href=\"http:www.sffs.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23660/italian_for_beginners_new_italian_cinema",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023660",
"label": "arts"
},
"arts_23638": {
"type": "posts",
"id": "arts_23638",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23638",
"score": null,
"sort": [
1226287570000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1226287570,
"format": "standard",
"title": "Let the Right One In",
"headTitle": "Let the Right One In | KQED",
"content": "\u003cp>Twelve-year-old Oskar is a bit of a freak, and it’s not just the unfortunate haircut. His parents are divorced; he’s being shuttled back and forth between them. He’s regularly bullied at school and cannot seem to find the will to fight back, and he has developed a crush on Eli, the little girl who just moved into the apartment next door. Trouble is, Eli is a vampire, and the guy she lives with (who poses as her father) is a sort of serial killer who must regularly slay young boys and return to feed his “little girl” with their blood. All the makings of a lovely little teen romance, right?\u003c/p>\n\u003cp>Right! \u003cb>Let the Right One In\u003c/b> may be a little twisted in spots, but ultimately it is a sweet film about two awkward and isolated pre-teens finding solace in one another. It doesn’t matter that one of them, Eli, may be hundreds of years old and, like all traditional vampires, must hide from the sun and regularly feed on human blood. She possesses various supernatural powers and the strength to fell a grown man, but she’s still just a lonely little girl who desperately needs a friend. When she happens upon Oskar, another desperate outsider trying somewhat unsuccessfully to navigate the shark-infested waters of the sixth grade, she resists the urge to feed in order to fulfill another, equally pressing need — companionship.\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> begins in the depth of winter, with snow on the ground, barren trees, and an almost perpetual twilight — a visible cold. The film’s colors are muted and, while the Swedish landscape looks clean and orderly, there is a hardness — a distant, cold, and detached feeling to the environment. Oskar has figured out a way to separate himself from his predicament as the daily object of a bully’s attentions. In fact, when we first meet him, he is mimicking the bully’s taunts, and playing with a knife he’ll never use. He is pretending to be the bully and to vanquish the bully, but when he is attacked all he can do is shut down, the way that nature has gone into hiding for the winter. When a small vampire enters the picture, her presence feels natural, like she is just another deadly feature in a harsh environment that is filled with ways to die.\u003c/p>\n\u003cp>But Eli is also a beacon of hope and connectedness in little Oskar’s otherwise dreary existence. The relationship the two develop reminded me of \u003cb>A Little Romance\u003c/b>, a sweet 1979 comedy that featured a young Diane Lane as an American schoolgirl who runs away to Venice with a French boy, who is her first crush. However, Eli is more like Sara Gilbert’s Darlene in \u003cb>Roseanne\u003c/b>, laconic, defiant, willful and unpredictable. Certainly there are tests along the way — young love isn’t easy. And once Eli reveals her secret to Oskar, there is also the chance of rejection and betrayal.\u003c/p>\n\u003cp>Similar to the way the \u003cb>Buffy, The Vampire Slayer\u003c/b> series used the supernatural to communicate the challenges of teen life, \u003cb>Let The Right One In\u003c/b> captures the same carelessness, alienation and cruelty, but without the air quotes. It’s not only a fresh take on the vampire genre, but it’s also a refreshingly vulnerable take on the teen romance, with just enough shock and gore thrown in to satisfy any true horror fan. It’s a harsh world, but at least there are “people” in it who can make it a little less lonely, all you have to do is “let the right one in.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> is now playing at the Bridge Theater in San Francisco, Shattuck Cinemas in Berkeley and the Rafael Film Center in San Rafael.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 664,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052927,
"excerpt": "Twelve-year-old Oskar is a bit of a freak, and it's not just the unfortunate haircut. He has developed a crush on Eli, the little girl who just moved into the apartment next door. Trouble is, Eli is a vampire.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Twelve-year-old Oskar is a bit of a freak, and it's not just the unfortunate haircut. He has developed a crush on Eli, the little girl who just moved into the apartment next door. Trouble is, Eli is a vampire.",
"title": "Let the Right One In | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Let the Right One In",
"datePublished": "2008-11-09T19:26:10-08:00",
"dateModified": "2024-01-12T01:48:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "let_the_right_one_in",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23638/let_the_right_one_in",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twelve-year-old Oskar is a bit of a freak, and it’s not just the unfortunate haircut. His parents are divorced; he’s being shuttled back and forth between them. He’s regularly bullied at school and cannot seem to find the will to fight back, and he has developed a crush on Eli, the little girl who just moved into the apartment next door. Trouble is, Eli is a vampire, and the guy she lives with (who poses as her father) is a sort of serial killer who must regularly slay young boys and return to feed his “little girl” with their blood. All the makings of a lovely little teen romance, right?\u003c/p>\n\u003cp>Right! \u003cb>Let the Right One In\u003c/b> may be a little twisted in spots, but ultimately it is a sweet film about two awkward and isolated pre-teens finding solace in one another. It doesn’t matter that one of them, Eli, may be hundreds of years old and, like all traditional vampires, must hide from the sun and regularly feed on human blood. She possesses various supernatural powers and the strength to fell a grown man, but she’s still just a lonely little girl who desperately needs a friend. When she happens upon Oskar, another desperate outsider trying somewhat unsuccessfully to navigate the shark-infested waters of the sixth grade, she resists the urge to feed in order to fulfill another, equally pressing need — companionship.\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> begins in the depth of winter, with snow on the ground, barren trees, and an almost perpetual twilight — a visible cold. The film’s colors are muted and, while the Swedish landscape looks clean and orderly, there is a hardness — a distant, cold, and detached feeling to the environment. Oskar has figured out a way to separate himself from his predicament as the daily object of a bully’s attentions. In fact, when we first meet him, he is mimicking the bully’s taunts, and playing with a knife he’ll never use. He is pretending to be the bully and to vanquish the bully, but when he is attacked all he can do is shut down, the way that nature has gone into hiding for the winter. When a small vampire enters the picture, her presence feels natural, like she is just another deadly feature in a harsh environment that is filled with ways to die.\u003c/p>\n\u003cp>But Eli is also a beacon of hope and connectedness in little Oskar’s otherwise dreary existence. The relationship the two develop reminded me of \u003cb>A Little Romance\u003c/b>, a sweet 1979 comedy that featured a young Diane Lane as an American schoolgirl who runs away to Venice with a French boy, who is her first crush. However, Eli is more like Sara Gilbert’s Darlene in \u003cb>Roseanne\u003c/b>, laconic, defiant, willful and unpredictable. Certainly there are tests along the way — young love isn’t easy. And once Eli reveals her secret to Oskar, there is also the chance of rejection and betrayal.\u003c/p>\n\u003cp>Similar to the way the \u003cb>Buffy, The Vampire Slayer\u003c/b> series used the supernatural to communicate the challenges of teen life, \u003cb>Let The Right One In\u003c/b> captures the same carelessness, alienation and cruelty, but without the air quotes. It’s not only a fresh take on the vampire genre, but it’s also a refreshingly vulnerable take on the teen romance, with just enough shock and gore thrown in to satisfy any true horror fan. It’s a harsh world, but at least there are “people” in it who can make it a little less lonely, all you have to do is “let the right one in.”\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>Let the Right One In\u003c/b> is now playing at the Bridge Theater in San Francisco, Shattuck Cinemas in Berkeley and the Rafael Film Center in San Rafael.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23638/let_the_right_one_in",
"authors": [
"8"
],
"categories": [
"arts_74"
],
"featImg": "arts_10023638",
"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": 3024,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_23842",
"arts_23816",
"arts_23803",
"arts_23800",
"arts_23789",
"arts_23786",
"arts_23783",
"arts_23740",
"arts_23709",
"arts_23686",
"arts_23660",
"arts_23638"
],
"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"
}
},
"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
}
}
