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_13966717": {
"type": "attachments",
"id": "arts_13966717",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966717",
"found": true
},
"title": "Naomi Scott stars in ‘Smile 2.’",
"publishDate": 1729109039,
"status": "inherit",
"parent": 13966715,
"modified": 1729109142,
"caption": "Naomi Scott stars in ‘Smile 2.’",
"credit": "Paramount Pictures via AP",
"altTag": "A woman in a striking red stage costume screams into a hallway, as onlookers stare at her from a distance.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-800x515.png",
"width": 800,
"height": 515,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-1020x657.png",
"width": 1020,
"height": 657,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-768x495.png",
"width": 768,
"height": 495,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-1536x989.png",
"width": 1536,
"height": 989,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2-1920x1236.png",
"width": 1920,
"height": 1236,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/smile-2.png",
"width": 2000,
"height": 1288
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13905395": {
"type": "attachments",
"id": "arts_13905395",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13905395",
"found": true
},
"parent": 13904911,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-160x110.png",
"width": 160,
"mimeType": "image/png",
"height": 110
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-e1635455249851.png",
"width": 1920,
"height": 1316
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-2048x1404.png",
"width": 2048,
"mimeType": "image/png",
"height": 1404
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-1020x699.png",
"width": 1020,
"mimeType": "image/png",
"height": 699
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-1536x1053.png",
"width": 1536,
"mimeType": "image/png",
"height": 1053
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-1920x1316.png",
"width": 1920,
"mimeType": "image/png",
"height": 1316
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-800x548.png",
"width": 800,
"mimeType": "image/png",
"height": 548
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-28-at-2.03.04-PM-768x526.png",
"width": 768,
"mimeType": "image/png",
"height": 526
}
},
"publishDate": 1635455004,
"modified": 1636508432,
"caption": "Donald Sutherland living the opposite of his best life in 1978's 'Invasion of the Body Snatchers.'",
"description": "Donald Sutherland living the opposite of his best life in 1978's 'Invasion of the Body Snatchers.'",
"title": "Donald Sutherland living the opposite of his best life in 1978's 'Invasion of the Body Snatchers.'",
"credit": null,
"status": "inherit",
"altTag": "A man wearing a Mackintosh coat, points straight ahead, mouth agape, eyes wide in a horrific expression.",
"isLoading": false,
"fetchFailed": false
},
"arts_13966427": {
"type": "attachments",
"id": "arts_13966427",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966427",
"found": true
},
"title": "hija de florinda",
"publishDate": 1728594459,
"status": "inherit",
"parent": 13966394,
"modified": 1728597178,
"caption": "Cristina Encarnacion as Naomi in 'hija de Florinda,' a short film by Shenny De Los Angeles and Amanda Morell.",
"credit": "Shenny De Los Angeles and Amanda Morell",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-800x521.jpg",
"width": 800,
"height": 521,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-1020x664.jpg",
"width": 1020,
"height": 664,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-160x104.jpg",
"width": 160,
"height": 104,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-768x500.jpg",
"width": 768,
"height": 500,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-1536x1000.jpg",
"width": 1536,
"height": 1000,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/hija-de-florinda.jpg",
"width": 1659,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966359": {
"type": "attachments",
"id": "arts_13966359",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966359",
"found": true
},
"title": "GettyImages-1470852730",
"publishDate": 1728510058,
"status": "inherit",
"parent": 13966358,
"modified": 1728510093,
"caption": "Cher attends NBC's 'Carol Burnett: 90 Years of Laughter + Love' Birthday Special on March 2, 2023 in Los Angeles, California.",
"credit": "Kevin Winter/Getty Images",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-800x534.jpg",
"width": 800,
"height": 534,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1920x1281.jpg",
"width": 1920,
"height": 1281,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966348": {
"type": "attachments",
"id": "arts_13966348",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966348",
"found": true
},
"title": "Maria Bakalova and Sebastian Stan in a scene from the film ‘The Apprentice.’",
"publishDate": 1728508013,
"status": "inherit",
"parent": 13966347,
"modified": 1728508078,
"caption": "Maria Bakalova and Sebastian Stan in a scene from the film ‘The Apprentice.’",
"credit": "Pief Weyman/Briarcliff Entertainment via AP",
"altTag": "A woman in a fur coat and a man in a suit talk to a reporter outside a limo.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-800x492.png",
"width": 800,
"height": 492,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-1020x627.png",
"width": 1020,
"height": 627,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-160x98.png",
"width": 160,
"height": 98,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-768x472.png",
"width": 768,
"height": 472,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-1536x944.png",
"width": 1536,
"height": 944,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov-1920x1180.png",
"width": 1920,
"height": 1180,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/app-mov.png",
"width": 2000,
"height": 1229
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966343": {
"type": "attachments",
"id": "arts_13966343",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966343",
"found": true
},
"title": "Andrew Garfield and Florence Pugh shine in ‘We Live in Time.’",
"publishDate": 1728505814,
"status": "inherit",
"parent": 13966340,
"modified": 1728505908,
"caption": "Andrew Garfield and Florence Pugh shine in ‘We Live in Time.’",
"credit": "Peter Mountain/A24 via AP",
"altTag": "A man and woman in their mid-thirties smile at a child in the man's arms, during a wintry walk outside.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-800x506.png",
"width": 800,
"height": 506,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-1020x645.png",
"width": 1020,
"height": 645,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-160x101.png",
"width": 160,
"height": 101,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-768x486.png",
"width": 768,
"height": 486,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-1536x972.png",
"width": 1536,
"height": 972,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time-1920x1214.png",
"width": 1920,
"height": 1214,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/time.png",
"width": 2000,
"height": 1265
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13957584": {
"type": "attachments",
"id": "arts_13957584",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957584",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240507-BOOTSRILEY-10-BL-KQED-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1715296054,
"modified": 1715296148,
"caption": "Filmmaker and musician Boots Riley near San Antonio Park in Oakland on May 7, 2024.",
"description": null,
"title": "240507-BOOTSRILEY-10-BL-KQED",
"credit": "Beth LaBerge/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13966269": {
"type": "attachments",
"id": "arts_13966269",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966269",
"found": true
},
"title": "wicker cropped",
"publishDate": 1728411259,
"status": "inherit",
"parent": 13966259,
"modified": 1728411303,
"caption": "In 1973's ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.",
"credit": "Archive Photos/Getty Images",
"altTag": "A huge wicker structure built in the shape of a man, stands on a hillside.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-800x480.png",
"width": 800,
"height": 480,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-1020x611.png",
"width": 1020,
"height": 611,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-160x96.png",
"width": 160,
"height": 96,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-768x460.png",
"width": 768,
"height": 460,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-1536x921.png",
"width": 1536,
"height": 921,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped-1920x1151.png",
"width": 1920,
"height": 1151,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-cropped.png",
"width": 2000,
"height": 1199
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966194": {
"type": "attachments",
"id": "arts_13966194",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966194",
"found": true
},
"title": "Lego pieces portraying Justin Timberlake and Pharrell Williams.",
"publishDate": 1728330171,
"status": "inherit",
"parent": 13966185,
"modified": 1728330306,
"caption": "Lego pieces portraying Justin Timberlake and Pharrell Williams.",
"credit": "Focus Features via AP",
"altTag": "Two lego figures talking to one another on a virtual set.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-800x402.png",
"width": 800,
"height": 402,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-1020x513.png",
"width": 1020,
"height": 513,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-160x80.png",
"width": 160,
"height": 80,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-768x386.png",
"width": 768,
"height": 386,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-1536x772.png",
"width": 1536,
"height": 772,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego-1920x965.png",
"width": 1920,
"height": 965,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ego.png",
"width": 2000,
"height": 1005
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966147": {
"type": "attachments",
"id": "arts_13966147",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966147",
"found": true
},
"title": "Brad Pitt and George Clooney play competing Hollywood fixers in ‘Wolfs.’",
"publishDate": 1728081530,
"status": "inherit",
"parent": 13966146,
"modified": 1728082824,
"caption": "Brad Pitt and George Clooney play competing Hollywood fixers in ‘Wolfs.’",
"credit": "Apple TV+",
"altTag": "Two handsome white men wearing dark clothing stand with guns poised staring into the distance.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wolfs-photo-0103-scaled-e1728082739397.jpeg",
"width": 1920,
"height": 1079
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13964047": {
"type": "attachments",
"id": "arts_13964047",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13964047",
"found": true
},
"title": "This portrait by Mabel Valdiviezo depicts the artist and her mother.",
"publishDate": 1726013865,
"status": "inherit",
"parent": 13964046,
"modified": 1727731708,
"caption": "This portrait by Mabel Valdiviezo depicts the artist and her mother.",
"credit": "Courtesy of Mabel Valdiviezo/Haiku Films",
"altTag": "A colorful mixed-media portrait of two Latinas, one younger, one older.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-800x479.jpg",
"width": 800,
"height": 479,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-1020x610.jpg",
"width": 1020,
"height": 610,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-160x96.jpg",
"width": 160,
"height": 96,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-768x460.jpg",
"width": 768,
"height": 460,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-1536x919.jpg",
"width": 1536,
"height": 919,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5-1920x1149.jpg",
"width": 1920,
"height": 1149,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Prodigal-Daughter-Still-5.jpg",
"width": 2000,
"height": 1197
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966067": {
"type": "attachments",
"id": "arts_13966067",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966067",
"found": true
},
"title": "Gillian Anderson and Ariella Glaser star in ‘White Bird: A Wonder Story.’",
"publishDate": 1727990752,
"status": "inherit",
"parent": 13966062,
"modified": 1727990865,
"caption": "Gillian Anderson and Ariella Glaser star in ‘White Bird: A Wonder Story.’ ",
"credit": "Larry Horricks/Lionsgate via AP",
"altTag": "An adolescent girl sits inside a barn wearing an oversized coat. An older woman talks warmly to her.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-800x513.png",
"width": 800,
"height": 513,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-1020x654.png",
"width": 1020,
"height": 654,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-768x493.png",
"width": 768,
"height": 493,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-1536x985.png",
"width": 1536,
"height": 985,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird-1920x1232.png",
"width": 1920,
"height": 1232,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/white-bird.png",
"width": 2000,
"height": 1283
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13966715": {
"type": "authors",
"id": "byline_arts_13966715",
"meta": {
"override": true
},
"slug": "byline_arts_13966715",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13966347": {
"type": "authors",
"id": "byline_arts_13966347",
"meta": {
"override": true
},
"slug": "byline_arts_13966347",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13966340": {
"type": "authors",
"id": "byline_arts_13966340",
"meta": {
"override": true
},
"slug": "byline_arts_13966340",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13966259": {
"type": "authors",
"id": "byline_arts_13966259",
"meta": {
"override": true
},
"slug": "byline_arts_13966259",
"name": "Glen Weldon, NPR",
"isLoading": false
},
"byline_arts_13966185": {
"type": "authors",
"id": "byline_arts_13966185",
"meta": {
"override": true
},
"slug": "byline_arts_13966185",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13966146": {
"type": "authors",
"id": "byline_arts_13966146",
"meta": {
"override": true
},
"slug": "byline_arts_13966146",
"name": "John Powers, NPR",
"isLoading": false
},
"byline_arts_13966062": {
"type": "authors",
"id": "byline_arts_13966062",
"meta": {
"override": true
},
"slug": "byline_arts_13966062",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ltsai": {
"type": "authors",
"id": "11743",
"meta": {
"index": "authors_1716337520",
"id": "11743",
"found": true
},
"name": "Luke Tsai",
"firstName": "Luke",
"lastName": "Tsai",
"slug": "ltsai",
"email": "ltsai@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Food Editor",
"bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.",
"avatar": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twitter": "theluketsai",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Luke Tsai | KQED",
"description": "Food Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ltsai"
}
},
"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": 33
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 33
}
},
{
"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_13966715": {
"type": "posts",
"id": "arts_13966715",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966715",
"score": null,
"sort": [
1729109511000
]
},
"guestAuthors": [],
"slug": "smile-2-horror-movie-review-naomi-scott-parker-finn",
"title": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott",
"publishDate": 1729109511,
"format": "standard",
"headTitle": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>In an early scene in \u003cem>Smile 2\u003c/em>, the fictional pop superstar Skye Riley is in her drug dealer’s apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.\u003c/p>\n\u003cp>You certainly will after this horror romp — writer-director Parker Finn’s second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger.\u003c/p>\n\u003cp>[aside postid='arts_13966259']\u003cem>Smile 2\u003c/em> lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of \u003ca href=\"https://www.kqed.org/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga\">\u003cem>Joker: Folie à Deux\u003c/em>\u003c/a> have been putting up a brave face at their terrible box-office numbers.\u003c/p>\n\u003cp>So it’s the perfect time for a sequel to 2020’s \u003cem>Smile\u003c/em>, which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It’s a meditation on breakdowns in the public eye, with a side dish of body horror.\u003c/p>\n\u003cp>We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FU_bAopCcSE\u003c/p>\n\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A pop star does battle with a grinning demon in this gruesomely entertaining sequel to the 2022 horror.",
"status": "publish",
"parent": 0,
"modified": 1729109511,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 752
},
"headData": {
"title": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott | KQED",
"description": "A pop star does battle with a grinning demon in this gruesomely entertaining sequel to the 2022 horror.",
"ogTitle": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott",
"datePublished": "2024-10-16T13:11:51-07:00",
"dateModified": "2024-10-16T13:11:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13966715",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966715/smile-2-horror-movie-review-naomi-scott-parker-finn",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an early scene in \u003cem>Smile 2\u003c/em>, the fictional pop superstar Skye Riley is in her drug dealer’s apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.\u003c/p>\n\u003cp>You certainly will after this horror romp — writer-director Parker Finn’s second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966259",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Smile 2\u003c/em> lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of \u003ca href=\"https://www.kqed.org/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga\">\u003cem>Joker: Folie à Deux\u003c/em>\u003c/a> have been putting up a brave face at their terrible box-office numbers.\u003c/p>\n\u003cp>So it’s the perfect time for a sequel to 2020’s \u003cem>Smile\u003c/em>, which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It’s a meditation on breakdowns in the public eye, with a side dish of body horror.\u003c/p>\n\u003cp>We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.\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 evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FU_bAopCcSE'\n title='//www.youtube.com/embed/FU_bAopCcSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13904911",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966715/smile-2-horror-movie-review-naomi-scott-parker-finn",
"authors": [
"byline_arts_13966715"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_5087",
"arts_769",
"arts_585"
],
"featImg": "arts_13966717",
"label": "arts_140"
},
"arts_13904911": {
"type": "posts",
"id": "arts_13904911",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13904911",
"score": null,
"sort": [
1728674736000
]
},
"guestAuthors": [],
"slug": "bay-area-horror-movies-to-stream-this-halloween",
"title": "7 Bay Area Horror Movies For Your Halloween Viewing Pleasure",
"publishDate": 1728674736,
"format": "standard",
"headTitle": "7 Bay Area Horror Movies For Your Halloween Viewing Pleasure | KQED",
"labelTerm": {},
"content": "\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid=’arts_[aside postid='arts_13936524']‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n",
"blocks": [],
"excerpt": "Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.",
"status": "publish",
"parent": 0,
"modified": 1784411326,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 1254
},
"headData": {
"title": "7 Horror Movies That Were Filmed in the SF Bay Area | KQED",
"description": "Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.",
"ogTitle": "7 Bay Area Horror Movies For Your Halloween Viewing Pleasure",
"ogDescription": "",
"ogImgId": "",
"twTitle": "7 Bay Area Horror Movies For Your Halloween Viewing Pleasure",
"twDescription": "",
"twImgId": "",
"socialTitle": "7 Horror Movies That Were Filmed in the SF Bay Area %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "7 Bay Area Horror Movies For Your Halloween Viewing Pleasure",
"datePublished": "2024-10-11T12:25:36-07:00",
"dateModified": "2026-07-18T14:48:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13904911/bay-area-horror-movies-to-stream-this-halloween",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_106535",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936524",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13904911/bay-area-horror-movies-to-stream-this-halloween",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_3669",
"arts_14353",
"arts_928",
"arts_10278",
"arts_977",
"arts_1206",
"arts_1143",
"arts_3231",
"arts_1146",
"arts_2721",
"arts_585"
],
"featImg": "arts_13905395",
"label": "source_arts_13904911"
},
"arts_13966394": {
"type": "posts",
"id": "arts_13966394",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966394",
"score": null,
"sort": [
1728597305000
]
},
"guestAuthors": [],
"slug": "climate-just-world-new-parkway-center-cultural-power",
"title": "After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland",
"publishDate": 1728597305,
"format": "standard",
"headTitle": "After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>A screening at Oakland’s New Parkway next week, \u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World\u003c/a>, isn’t alluding to some far-off future of potential climate disaster. When we connect by phone, filmmaker Shenny De Los Angeles and her family are sheltering in Kissimmee, Florida. They’re among the over 3 million households without power because of Hurricane Milton.\u003c/p>\n\u003cp>It’s the second major hurricane in two weeks to ravage De Los Angeles’ home state. At the end of September, Hurricane Helene killed over 200 people throughout the Southeastern U.S. and caused tens of billion dollars in structural damage.\u003c/p>\n\u003cp>De Los Angeles and co-director Amanda Morell will be in the Bay Area on Oct. 17 to show their new short film, \u003cem>hija de Florinda\u003c/em>, about a Dominican woman who returns to her ancestors’ lands after they were destroyed by the effects of climate change.\u003c/p>\n\u003cp>“So to be going through it in real time right now, where we had to actually prepare in case our home was taken by Hurricane Milton, speaks volumes — even though it was a fictional story, it’s real life,” says De Los Angeles, adding that she and her family are safe. “I’m navigating it in real time.”\u003c/p>\n\u003cfigure id=\"attachment_13966424\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg\" alt=\"\" width=\"1134\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-800x1422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-1020x1813.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-160x284.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-768x1365.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-864x1536.jpeg 864w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Shenny De Los Angeles and Amanda Morell on set for ‘hija de Florinda.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in black and white among the mangrove trees of the Everglades, \u003cem>hija de Florinda\u003c/em> is a poetic film in which a young woman learns about Indigenous practices of controlled burns from her grandmother, practices which are now being recognized as an essential part of the ecosystem in Florida and California alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story deals with environmental racism in a state where terms like “diversity, equity and inclusion” and “climate change” \u003ca href=\"https://www.tampabay.com/news/education/2024/07/08/florida-adds-more-textbook-restrictions-this-time-its-climate-change/\">have been struck from local laws and school textbooks\u003c/a>. It draws from Afro-Indigenous rituals, and takes inspiration from the story of Mamá Tingó, a Dominican woman who fought for the rights of rural farmers and was killed defending her land in 1974. In the film, Mamá Tingó becomes a guardian whose presence links the ideas of protecting the land and protecting future generations. [aside postid='news_12008755,news_12008028']\u003c/p>\n\u003cp>For De Los Angeles, decades-old laws that suppressed controlled burns became a metaphor for social repression. “I see my grandmother suppressed. I see my mom suppressed,” she says. “And I thought about how if nature is asking us to embrace fire, how do we as Black and brown people embrace our anger, embrace our pain? That’s part of healing.”\u003c/p>\n\u003cp>Living in harmony with fire is also a key theme in the other short film playing at Cinematic Visions of a Climate Just World, Lily Xie’s \u003cem>Remembering Our Way Forward\u003c/em>. (Xie, De Los Angeles and Morell were selected for the screening after winning the Center for Cultural Power’s Climate Woke filmmaker grant.) Xie, a Philadelphia-based animator, came to the Bay Area to capture how Movement Generation and Sogorea Te’ Land Trust returned 43 acres of land in Bay Miwok territory, or Contra Costa County, to Indigenous stewardship in 2023.\u003c/p>\n\u003cp>The stop-motion short, narrated by Movement Generation climate activists, is a storybook-like, optimistic piece about people trying to return to a reciprocal balance with the land after centuries of colonial domination. “I think artists could have a really big role in moving from more extractive relationships to land towards more regenerative relationships,” says Xie. “And a lot of that has to do with storytelling and narrative.”\u003c/p>\n\u003cfigure id=\"attachment_13966426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Xie shoots her stop-motion animation film, ‘Remembering Our Way Forward.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>East Coast hurricanes tearing apart communities, West Coast wildfires destroying towns and poisoning the air — each region of the U.S. is dealing with climate change-induced catastrophes. At Cinematic Visions of a Climate Just World, which also features panel discussions and a spoken-word performance by teenage Oakland climate activist \u003ca href=\"https://oaklandside.org/2024/09/18/oakland-teen-climate-activist-youth-vs-apocalypse/\">Aniya Butler\u003c/a>, there’s an opportunity to leave our regional silos and strategize around a global problem.\u003c/p>\n\u003cp>“There’s a lot of intersecting identities and dynamics that play with climate,” says Xie. “It’s often communities of color that are living in ‘sacrifice zones’ that are already at higher climate risk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World: A Climate Woke Special Screening\u003c/a>’ takes place at the New Parkway in Oakland on Oct. 17. Free with RSVP.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Shenny De Los Angeles joins a climate justice discussion and screening at the New Parkway on Oct. 17.",
"status": "publish",
"parent": 0,
"modified": 1729111647,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 778
},
"headData": {
"title": "Climate Justice, Land Back Films at the New Parkway | KQED",
"description": "Shenny De Los Angeles joins a climate justice discussion and screening at the New Parkway on Oct. 17.",
"ogTitle": "After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland",
"ogDescription": "",
"ogImgId": "",
"twTitle": "After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland",
"twDescription": "",
"twImgId": "",
"socialTitle": "Climate Justice, Land Back Films at the New Parkway %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland",
"datePublished": "2024-10-10T14:55:05-07:00",
"dateModified": "2024-10-16T13:47:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966394",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966394/climate-just-world-new-parkway-center-cultural-power",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A screening at Oakland’s New Parkway next week, \u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World\u003c/a>, isn’t alluding to some far-off future of potential climate disaster. When we connect by phone, filmmaker Shenny De Los Angeles and her family are sheltering in Kissimmee, Florida. They’re among the over 3 million households without power because of Hurricane Milton.\u003c/p>\n\u003cp>It’s the second major hurricane in two weeks to ravage De Los Angeles’ home state. At the end of September, Hurricane Helene killed over 200 people throughout the Southeastern U.S. and caused tens of billion dollars in structural damage.\u003c/p>\n\u003cp>De Los Angeles and co-director Amanda Morell will be in the Bay Area on Oct. 17 to show their new short film, \u003cem>hija de Florinda\u003c/em>, about a Dominican woman who returns to her ancestors’ lands after they were destroyed by the effects of climate change.\u003c/p>\n\u003cp>“So to be going through it in real time right now, where we had to actually prepare in case our home was taken by Hurricane Milton, speaks volumes — even though it was a fictional story, it’s real life,” says De Los Angeles, adding that she and her family are safe. “I’m navigating it in real time.”\u003c/p>\n\u003cfigure id=\"attachment_13966424\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg\" alt=\"\" width=\"1134\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-800x1422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-1020x1813.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-160x284.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-768x1365.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-864x1536.jpeg 864w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Shenny De Los Angeles and Amanda Morell on set for ‘hija de Florinda.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in black and white among the mangrove trees of the Everglades, \u003cem>hija de Florinda\u003c/em> is a poetic film in which a young woman learns about Indigenous practices of controlled burns from her grandmother, practices which are now being recognized as an essential part of the ecosystem in Florida and California alike.\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 story deals with environmental racism in a state where terms like “diversity, equity and inclusion” and “climate change” \u003ca href=\"https://www.tampabay.com/news/education/2024/07/08/florida-adds-more-textbook-restrictions-this-time-its-climate-change/\">have been struck from local laws and school textbooks\u003c/a>. It draws from Afro-Indigenous rituals, and takes inspiration from the story of Mamá Tingó, a Dominican woman who fought for the rights of rural farmers and was killed defending her land in 1974. In the film, Mamá Tingó becomes a guardian whose presence links the ideas of protecting the land and protecting future generations. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_12008755,news_12008028",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For De Los Angeles, decades-old laws that suppressed controlled burns became a metaphor for social repression. “I see my grandmother suppressed. I see my mom suppressed,” she says. “And I thought about how if nature is asking us to embrace fire, how do we as Black and brown people embrace our anger, embrace our pain? That’s part of healing.”\u003c/p>\n\u003cp>Living in harmony with fire is also a key theme in the other short film playing at Cinematic Visions of a Climate Just World, Lily Xie’s \u003cem>Remembering Our Way Forward\u003c/em>. (Xie, De Los Angeles and Morell were selected for the screening after winning the Center for Cultural Power’s Climate Woke filmmaker grant.) Xie, a Philadelphia-based animator, came to the Bay Area to capture how Movement Generation and Sogorea Te’ Land Trust returned 43 acres of land in Bay Miwok territory, or Contra Costa County, to Indigenous stewardship in 2023.\u003c/p>\n\u003cp>The stop-motion short, narrated by Movement Generation climate activists, is a storybook-like, optimistic piece about people trying to return to a reciprocal balance with the land after centuries of colonial domination. “I think artists could have a really big role in moving from more extractive relationships to land towards more regenerative relationships,” says Xie. “And a lot of that has to do with storytelling and narrative.”\u003c/p>\n\u003cfigure id=\"attachment_13966426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Xie shoots her stop-motion animation film, ‘Remembering Our Way Forward.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>East Coast hurricanes tearing apart communities, West Coast wildfires destroying towns and poisoning the air — each region of the U.S. is dealing with climate change-induced catastrophes. At Cinematic Visions of a Climate Just World, which also features panel discussions and a spoken-word performance by teenage Oakland climate activist \u003ca href=\"https://oaklandside.org/2024/09/18/oakland-teen-climate-activist-youth-vs-apocalypse/\">Aniya Butler\u003c/a>, there’s an opportunity to leave our regional silos and strategize around a global problem.\u003c/p>\n\u003cp>“There’s a lot of intersecting identities and dynamics that play with climate,” says Xie. “It’s often communities of color that are living in ‘sacrifice zones’ that are already at higher climate risk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World: A Climate Woke Special Screening\u003c/a>’ takes place at the New Parkway in Oakland on Oct. 17. Free with RSVP.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966394/climate-just-world-new-parkway-center-cultural-power",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22351",
"arts_74"
],
"tags": [
"arts_1407",
"arts_10278",
"arts_585"
],
"featImg": "arts_13966427",
"label": "arts_140"
},
"arts_13966358": {
"type": "posts",
"id": "arts_13966358",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966358",
"score": null,
"sort": [
1728510229000
]
},
"guestAuthors": [],
"slug": "ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco",
"title": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco",
"publishDate": 1728510229,
"format": "standard",
"headTitle": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The global superstar appears in conversation on Dec. 4 to discuss her new memoir.",
"status": "publish",
"parent": 0,
"modified": 1728510503,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 149
},
"headData": {
"title": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco | KQED",
"description": "The global superstar appears in conversation on Dec. 4 to discuss her new memoir.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco",
"datePublished": "2024-10-09T14:43:49-07:00",
"dateModified": "2024-10-09T14:48:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966358",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966358/ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966358/ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_76",
"arts_74",
"arts_69",
"arts_75",
"arts_22313"
],
"tags": [
"arts_7032",
"arts_585",
"arts_4798"
],
"featImg": "arts_13966359",
"label": "arts_140"
},
"arts_13966347": {
"type": "posts",
"id": "arts_13966347",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966347",
"score": null,
"sort": [
1728508580000
]
},
"guestAuthors": [],
"slug": "donald-trump-roy-cohn-movie-review-the-apprentice-jeremy-strong-sebastian-stan",
"title": "How Did Trump Become Trump? ‘The Apprentice’ Has a Theory",
"publishDate": 1728508580,
"format": "standard",
"headTitle": "How Did Trump Become Trump? ‘The Apprentice’ Has a Theory | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Decades before he hosted \u003cem>The Apprentice\u003c/em>, Donald Trump was … an apprentice.\u003c/p>\n\u003cp>His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ’70s and ’80s after famously serving as a top aide to Sen. Joseph McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13966278']The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.\u003c/p>\n\u003cp>Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors — Trump supporter Dan Snyder, former owner of the Washington Commanders — saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open \u003cem>The Apprentice\u003c/em> this Friday — less than four weeks before the U.S. election.\u003c/p>\n\u003cp>So, what kind of movie do we have here?\u003c/p>\n\u003cp>Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship — and at a system that’s about winning at any cost.\u003c/p>\n\u003cp>[aside postid='arts_13966340']He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0tXEN0WNJUg\u003c/p>\n\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>[aside postid='arts_13966259']As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>[aside postid='arts_13965858']Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Sebastian Stan and Jeremy Strong are perfectly cast as Donald Trump and Roy Cohn in this controversial film.",
"status": "publish",
"parent": 0,
"modified": 1728508580,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1046
},
"headData": {
"title": "Movie Review: ‘The Apprentice’ Explores 1980s Trump | KQED",
"description": "Sebastian Stan and Jeremy Strong are perfectly cast as Donald Trump and Roy Cohn in this controversial film.",
"ogTitle": "How Did Trump Become Trump? ‘The Apprentice’ Has a Theory",
"ogDescription": "",
"ogImgId": "",
"twTitle": "How Did Trump Become Trump? ‘The Apprentice’ Has a Theory",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘The Apprentice’ Explores 1980s Trump %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How Did Trump Become Trump? ‘The Apprentice’ Has a Theory",
"datePublished": "2024-10-09T14:16:20-07:00",
"dateModified": "2024-10-09T14:16:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jocelyn Noveck, Associated Press",
"nprStoryId": "kqed-13966347",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966347/donald-trump-roy-cohn-movie-review-the-apprentice-jeremy-strong-sebastian-stan",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decades before he hosted \u003cem>The Apprentice\u003c/em>, Donald Trump was … an apprentice.\u003c/p>\n\u003cp>His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ’70s and ’80s after famously serving as a top aide to Sen. Joseph McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966278",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\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>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.\u003c/p>\n\u003cp>Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors — Trump supporter Dan Snyder, former owner of the Washington Commanders — saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open \u003cem>The Apprentice\u003c/em> this Friday — less than four weeks before the U.S. election.\u003c/p>\n\u003cp>So, what kind of movie do we have here?\u003c/p>\n\u003cp>Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship — and at a system that’s about winning at any cost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966340",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0tXEN0WNJUg'\n title='//www.youtube.com/embed/0tXEN0WNJUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966259",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965858",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966347/donald-trump-roy-cohn-movie-review-the-apprentice-jeremy-strong-sebastian-stan",
"authors": [
"byline_arts_13966347"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_21748",
"arts_769",
"arts_585"
],
"featImg": "arts_13966348",
"label": "arts_140"
},
"arts_13966340": {
"type": "posts",
"id": "arts_13966340",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966340",
"score": null,
"sort": [
1728506248000
]
},
"guestAuthors": [],
"slug": "we-live-in-time-movie-review-florence-pugh-andrew-garfield-realistic-romance",
"title": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’",
"publishDate": 1728506248,
"format": "standard",
"headTitle": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>[aside postid='arts_13966185']While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH02yagHaNw\u003c/p>\n\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>[aside postid='arts_13966146']The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Pugh and Garfield’s exceptional chemistry elevates this sweet story about the highs and lows of a mid-life relationship.",
"status": "publish",
"parent": 0,
"modified": 1728506248,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 799
},
"headData": {
"title": "Florence Pugh, Andrew Garfield Shine in ‘We Live in Time’ | KQED",
"description": "Pugh and Garfield’s exceptional chemistry elevates this sweet story about the highs and lows of a mid-life relationship.",
"ogTitle": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Florence Pugh, Andrew Garfield Shine in ‘We Live in Time’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’",
"datePublished": "2024-10-09T13:37:28-07:00",
"dateModified": "2024-10-09T13:37:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13966340",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966340/we-live-in-time-movie-review-florence-pugh-andrew-garfield-realistic-romance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966185",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MH02yagHaNw'\n title='//www.youtube.com/embed/MH02yagHaNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966146",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966340/we-live-in-time-movie-review-florence-pugh-andrew-garfield-realistic-romance",
"authors": [
"byline_arts_13966340"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_8905",
"arts_769",
"arts_3930",
"arts_585"
],
"featImg": "arts_13966343",
"label": "arts_140"
},
"arts_13966278": {
"type": "posts",
"id": "arts_13966278",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966278",
"score": null,
"sort": [
1728423889000
]
},
"guestAuthors": [],
"slug": "boots-riley-new-film-i-love-boosters-shoplifting-keke-palmer-demi-moore",
"title": "Boots Riley’s New Film Is About a Female Shoplifting Ring",
"publishDate": 1728423889,
"format": "standard",
"headTitle": "Boots Riley’s New Film Is About a Female Shoplifting Ring | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. [aside postid='arts_13939974']\u003c/p>\n\u003cp>Now, \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">Deadline\u003c/a> reports additional details about \u003cem>I Love Boosters\u003c/em>, including the rest of what is shaping up to be a dream team of an ensemble cast: In addition to Palmer (\u003ca href=\"https://www.kqed.org/arts/13916536/jordan-peele-subverts-expectations-again-with-nope\">\u003cem>Nope\u003c/em>\u003c/a>), the film will also feature \u003cem>the \u003c/em>Demi Moore, Naomi Ackie \u003cem>(I Wanna Dance With\u003c/em> \u003cem>Somebody\u003c/em>) and previous Riley collaborator LaKeith Stanfield, whose breakout role was in Riley’s 2018 debut, the anti-capitalist masterpiece \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>An activist, MC and all around multihyphenate in addition to his burgeoning film career, Riley hasn’t been shy about weighing in on what he perceives to be a “\u003ca href=\"https://www.instagram.com/p/Cxdu9v8vb6e/?img_index=5\">fake ‘crime wave’ narrative\u003c/a>” in Oakland — largely centered on a rise in “\u003ca href=\"https://www.kqed.org/news/tag/bipping\">bipping\u003c/a>” and non-violent retail theft — that has been weaponized against Black folks and other people of color.\u003c/p>\n\u003cp>Fans of Riley’s work will have to wait until the film’s release to see what insight it offers into the politicization of those narratives, but a quick listen to this 2006 song by Riley’s band, The Coup — also called “\u003ca href=\"https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\">I Love Boosters\u003c/a>!” — can give some glimpse into his sensibility:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>For some of y’all folks, this stuff might faze ya / This ain’t the way the society raised ya / But most of it was made by children in Asia / The stores make money off of very low wages / The next time you see two women running out the Gap / With arms full of clothes still strapped to the rack / Once they jump in the car, hit the gas and scat / If you have to say something, just stand and clap\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is set to begin filming later this fall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\u003c/p>\n\n",
"blocks": [],
"excerpt": "'I Love Boosters,' starring Keke Palmer, LaKeith Stanfield and Demi Moore, is set to begin shooting this fall.",
"status": "publish",
"parent": 0,
"modified": 1728497603,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 391
},
"headData": {
"title": "New Boots Riley’s Movie 'I Love Boosters' Stars Keke Palmer | KQED",
"description": "'I Love Boosters,' starring Keke Palmer, LaKeith Stanfield and Demi Moore, is set to begin shooting this fall.",
"ogTitle": "Boots Riley’s New Film Is About a Female Shoplifting Ring",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Boots Riley’s New Film Is About a Female Shoplifting Ring",
"twDescription": "",
"twImgId": "",
"socialTitle": "New Boots Riley’s Movie 'I Love Boosters' Stars Keke Palmer %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Boots Riley’s New Film Is About a Female Shoplifting Ring",
"datePublished": "2024-10-08T14:44:49-07:00",
"dateModified": "2024-10-09T11:13:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966278",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966278/boots-riley-new-film-i-love-boosters-shoplifting-keke-palmer-demi-moore",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13939974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">Deadline\u003c/a> reports additional details about \u003cem>I Love Boosters\u003c/em>, including the rest of what is shaping up to be a dream team of an ensemble cast: In addition to Palmer (\u003ca href=\"https://www.kqed.org/arts/13916536/jordan-peele-subverts-expectations-again-with-nope\">\u003cem>Nope\u003c/em>\u003c/a>), the film will also feature \u003cem>the \u003c/em>Demi Moore, Naomi Ackie \u003cem>(I Wanna Dance With\u003c/em> \u003cem>Somebody\u003c/em>) and previous Riley collaborator LaKeith Stanfield, whose breakout role was in Riley’s 2018 debut, the anti-capitalist masterpiece \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>An activist, MC and all around multihyphenate in addition to his burgeoning film career, Riley hasn’t been shy about weighing in on what he perceives to be a “\u003ca href=\"https://www.instagram.com/p/Cxdu9v8vb6e/?img_index=5\">fake ‘crime wave’ narrative\u003c/a>” in Oakland — largely centered on a rise in “\u003ca href=\"https://www.kqed.org/news/tag/bipping\">bipping\u003c/a>” and non-violent retail theft — that has been weaponized against Black folks and other people of color.\u003c/p>\n\u003cp>Fans of Riley’s work will have to wait until the film’s release to see what insight it offers into the politicization of those narratives, but a quick listen to this 2006 song by Riley’s band, The Coup — also called “\u003ca href=\"https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\">I Love Boosters\u003c/a>!” — can give some glimpse into his sensibility:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>For some of y’all folks, this stuff might faze ya / This ain’t the way the society raised ya / But most of it was made by children in Asia / The stores make money off of very low wages / The next time you see two women running out the Gap / With arms full of clothes still strapped to the rack / Once they jump in the car, hit the gas and scat / If you have to say something, just stand and clap\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is set to begin filming later this fall.\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>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/geY-ydeYb4M'\n title='//www.youtube.com/embed/geY-ydeYb4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966278/boots-riley-new-film-i-love-boosters-shoplifting-keke-palmer-demi-moore",
"authors": [
"11743"
],
"categories": [
"arts_1",
"arts_74",
"arts_235"
],
"tags": [
"arts_1998",
"arts_10001",
"arts_3465"
],
"featImg": "arts_13957584",
"label": "arts"
},
"arts_13966259": {
"type": "posts",
"id": "arts_13966259",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966259",
"score": null,
"sort": [
1728411775000
]
},
"guestAuthors": [],
"slug": "this-horror-genre-is-scary-as-folk-and-perfect-october-viewing",
"title": "This Horror Genre Is Scary as Folk – and Perfect October Viewing",
"publishDate": 1728411775,
"format": "aside",
"headTitle": "This Horror Genre Is Scary as Folk – and Perfect October Viewing | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>[aside postid='arts_13962878']For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a-tDnavDCwI\u003c/p>\n\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iQXmlf3Sefg\u003c/p>\n\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>[aside postid='arts_13964075']It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA1WCp8hGB0\u003c/p>\n\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>[aside postid='arts_13962666']You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Vnghdsjmd0\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Folk horror is set in remote, isolated areas where local superstitions hold sway. Think: ‘The Wicker Man’ and ‘Midsommar.’",
"status": "publish",
"parent": 0,
"modified": 1728677536,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1144
},
"headData": {
"title": "Folk Horror Movies to Get You in the Mood for Halloween | KQED",
"description": "Folk horror is set in remote, isolated areas where local superstitions hold sway. Think: ‘The Wicker Man’ and ‘Midsommar.’",
"ogTitle": "This Horror Genre Is Scary as Folk – and Perfect October Viewing",
"ogDescription": "",
"ogImgId": "",
"twTitle": "This Horror Genre Is Scary as Folk – and Perfect October Viewing",
"twDescription": "",
"twImgId": "",
"socialTitle": "Folk Horror Movies to Get You in the Mood for Halloween %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This Horror Genre Is Scary as Folk – and Perfect October Viewing",
"datePublished": "2024-10-08T11:22:55-07:00",
"dateModified": "2024-10-11T13:12:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Glen Weldon, NPR",
"nprStoryId": "nx-s1-5138373",
"nprHtmlLink": "https://www.npr.org/2024/10/04/nx-s1-5138373/folk-horror-movies-the-wicker-man-midsommar-hereditary",
"nprRetrievedStory": "1",
"nprPubDate": "2024-10-05T07:01:00-04:00",
"nprStoryDate": "2024-10-05T07:01:00-04:00",
"nprLastModifiedDate": "2024-10-05T07:01:05.102-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966259/this-horror-genre-is-scary-as-folk-and-perfect-october-viewing",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962878",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a-tDnavDCwI'\n title='//www.youtube.com/embed/a-tDnavDCwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iQXmlf3Sefg'\n title='//www.youtube.com/embed/iQXmlf3Sefg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964075",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QA1WCp8hGB0'\n title='//www.youtube.com/embed/QA1WCp8hGB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962666",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966259/this-horror-genre-is-scary-as-folk-and-perfect-october-viewing",
"authors": [
"byline_arts_13966259"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_1206",
"arts_5087"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13966269",
"label": "arts_137"
},
"arts_13966185": {
"type": "posts",
"id": "arts_13966185",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966185",
"score": null,
"sort": [
1728332201000
]
},
"guestAuthors": [],
"slug": "pharrell-williams-documentary-review-piece-by-piece-lego",
"title": "‘Piece by Piece,’ a Very Odd Lego Doc About Pharrell Williams Snaps Together Somehow",
"publishDate": 1728332201,
"format": "standard",
"headTitle": "‘Piece by Piece,’ a Very Odd Lego Doc About Pharrell Williams Snaps Together Somehow | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>[aside postid='arts_13966146']Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc&t=59s\u003c/p>\n\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>[aside postid='arts_13965858']There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Lego, while seemingly a restrictive medium — everyone’s walking is robotic — can also, apparently, in the right hands soar.",
"status": "publish",
"parent": 0,
"modified": 1750185749,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 801
},
"headData": {
"title": "Pharrell Williams’ Lego Documentary Is a Happy, Good Time | KQED",
"description": "Lego, while seemingly a restrictive medium — everyone’s walking is robotic — can also, apparently, in the right hands soar.",
"ogTitle": "‘Piece by Piece,’ an Odd Lego Doc About Pharrell Williams Snaps Together Somehow",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Piece by Piece,’ an Odd Lego Doc About Pharrell Williams Snaps Together Somehow",
"twDescription": "",
"twImgId": "",
"socialTitle": "Pharrell Williams’ Lego Documentary Is a Happy, Good Time%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Piece by Piece,’ a Very Odd Lego Doc About Pharrell Williams Snaps Together Somehow",
"datePublished": "2024-10-07T13:16:41-07:00",
"dateModified": "2025-06-17T11:42:29-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13966185",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966185/pharrell-williams-documentary-review-piece-by-piece-lego",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966146",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965858",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966185/pharrell-williams-documentary-review-piece-by-piece-lego",
"authors": [
"byline_arts_13966185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_13672",
"arts_769",
"arts_585"
],
"featImg": "arts_13966194",
"label": "arts_140"
},
"arts_13966146": {
"type": "posts",
"id": "arts_13966146",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966146",
"score": null,
"sort": [
1728083067000
]
},
"guestAuthors": [],
"slug": "wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney",
"title": "Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’",
"publishDate": 1728083067,
"format": "standard",
"headTitle": "Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>[aside postid='arts_13966048']The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13965877']And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>[aside postid='arts_13965858']What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Pitt and Clooney play competing Hollywood ‘fixers’ in this low-key Apple TV+ film.",
"status": "publish",
"parent": 0,
"modified": 1728083067,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 831
},
"headData": {
"title": "Movie Review: George Clooney and Brad Pitt Carry ‘Wolfs’ | KQED",
"description": "Pitt and Clooney play competing Hollywood ‘fixers’ in this low-key Apple TV+ film.",
"ogTitle": "Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: George Clooney and Brad Pitt Carry ‘Wolfs’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’",
"datePublished": "2024-10-04T16:04:27-07:00",
"dateModified": "2024-10-04T16:04:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "John Powers, NPR",
"nprStoryId": "nx-s1-5140162",
"nprHtmlLink": "https://www.npr.org/2024/10/04/nx-s1-5140162/wolfs-review-brad-pitt-george-clooney",
"nprRetrievedStory": "1",
"nprPubDate": "2024-10-04T13:05:10.979-04:00",
"nprStoryDate": "2024-10-04T13:05:10.979-04:00",
"nprLastModifiedDate": "2024-10-04T17:10:14.727-04:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/10/20241004_fa_3ff4cc76-0a1f-4244-bd65-d39166a27d61.mp3?d=385349&e=nx-s1-5140162",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966146/wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/10/20241004_fa_3ff4cc76-0a1f-4244-bd65-d39166a27d61.mp3?d=385349&e=nx-s1-5140162",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966048",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965877",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965858",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966146/wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney",
"authors": [
"byline_arts_13966146"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_9222",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13966147",
"label": "arts_140"
},
"arts_13965858": {
"type": "posts",
"id": "arts_13965858",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13965858",
"score": null,
"sort": [
1728057600000
]
},
"guestAuthors": [],
"slug": "prodigal-daughter-documentary-movie-review-latino-film-fest-mabel-valdiviezo",
"title": "‘Prodigal Daughter’ Beautifully Illuminates One Woman’s Road Less Traveled",
"publishDate": 1728057600,
"format": "standard",
"headTitle": "‘Prodigal Daughter’ Beautifully Illuminates One Woman’s Road Less Traveled | KQED",
"labelTerm": {},
"content": "\u003cp>“Painting is a ritual to confront the past and heal what is broken,” Mabel Valdiviezo says in the first moments of her film, \u003cem>\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>\u003c/em>. “It reveals layers that the camera cannot capture and obscures what we would rather forget.”\u003c/p>\n\u003cp>[aside postid='arts_13964034']Art is present throughout the documentary. It’s Valdiviezo’s only consistent anchor as she navigates stormy and uncertain waters. As a teenager growing up mired in the political turbulence of 1980s and ’90s Peru, she made experimental videos that helped her express ideas about politics and patriarchy. At the age of 25, when Valdiviezo fled the dictatorship that had just taken over her home country, she chose San Francisco as her destination because of its reputation as a “haven for artists.” After the artist found work dancing in the strip clubs of North Beach, she channeled her feelings about female power into her collages and paintings. And as Valdiviezo struggled with family trauma and resentments, she reframed photos from her past using painted embellishments.\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> captures Valdiviezo as she returns to her family in Peru after 16 years of no contact. The journey of reconnection that she goes on with her parents, brother and centenarian grandmother is a swirling mess of painful confessions, guilt, forgiveness and healing. There are moments of culture clash too, as Valdiviezo tries to process old wounds with parents who would rather keep uncomfortable truths hidden behind closed mouths and locked doors. Valdiviezo’s more Californian sensibilities are simply not understood by the people who raised her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yzzq3BWjmhQ\u003c/p>\n\u003cp>Hanging over the film are the impossible decisions undocumented immigrants are forced to make. Valdiviezo first opted to cease all contact with her family because she believed they misunderstood and were ashamed of her. However, it’s clear that her prolonged disconnection from them was indelibly linked to her precarious legal situation in the U.S. Without any official status, Valdiviezo was unable to leave her life in America without being barred from returning to it altogether. The journey home to Peru is only possible after marriage to her Filipino American partner earns her a green card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> offers jumping off points to explain Peru’s turbulent political history, and the resistance that sprang up around that. More details about the country’s rebel groups — including \u003ca href=\"https://www.dni.gov/nctc/ftos/shining_path_fto.html\">Shining Path\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/T%C3%BApac_Amaru_Revolutionary_Movement\">Túpac Amaru Revolutionary Movement\u003c/a>, as well as the punk rock \u003cem>subtes\u003c/em> subculture — would have been a welcome addition here. Valdiviezo is far more interested in exploring her personal history than that of her home country, however. And that’s fair enough.\u003c/p>\n\u003cp>[aside postid='arts_13964538']A fourth act twist brings the family closer together, inspires more honesty and prompts an exploration of lineage. In the end, it’s not just Valdiviezo who finds solace in making art. Her mother came to painting later in life, once her children were grown. Her style is different from her daughter’s and pays homage to her Incan roots, incorporating traditional Indigenous illustration, as well as \u003ca href=\"https://en.wikipedia.org/wiki/Nazca_lines\">Nazca lines\u003c/a>. As the two women paint side by side, their paintbrushes build a bridge that finally obscures their differences.\u003c/p>\n\u003cp>By the time the once-estranged daughter and mother share exhibition space at San Francisco’s \u003ca href=\"https://www.missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, it’s clear that, when it comes to Valdiviezo’s life, art is a greater healer than words, international pilgrimages and perhaps, even this wonderful film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>’ premieres at the \u003ca href=\"https://roxie.com/film/sf-latino-film-festival-prodigal-daughter/\">Roxie Theater\u003c/a> on Oct. 11, 2024 at 6:30 p.m. as part of the \u003ca href=\"https://www.cinemassf.org/\">Cine+Mas San Francisco Latino Film Festival\u003c/a>. It will also screen at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> on Nov. 2 at 2 p.m and at the \u003ca href=\"https://www.missionculturalcenter.org/shop/p/prodigal-daughter-film-or-prodigal-film-workshop\">Mission Cultural Center\u003c/a> on April 4, 2025 at 6:30 p.m.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Mabel Valdiviezo documents her return to Peru — and the family she’s been estranged from for 16 years.",
"status": "publish",
"parent": 0,
"modified": 1753245050,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 660
},
"headData": {
"title": "SF Latino Film Festival: ‘Prodigal Daughter’ Review | KQED",
"description": "Mabel Valdiviezo documents her return to Peru — and the family she’s been estranged from for 16 years.",
"ogTitle": "‘Prodigal Daughter’ Beautifully Illuminates One Woman’s Road Less Traveled",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Prodigal Daughter’ Beautifully Illuminates One Woman’s Road Less Traveled",
"twDescription": "",
"twImgId": "",
"socialTitle": "SF Latino Film Festival: ‘Prodigal Daughter’ Review %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Prodigal Daughter’ Beautifully Illuminates One Woman’s Road Less Traveled",
"datePublished": "2024-10-04T09:00:00-07:00",
"dateModified": "2025-07-22T21:30:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13965858",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13965858/prodigal-daughter-documentary-movie-review-latino-film-fest-mabel-valdiviezo",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Painting is a ritual to confront the past and heal what is broken,” Mabel Valdiviezo says in the first moments of her film, \u003cem>\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>\u003c/em>. “It reveals layers that the camera cannot capture and obscures what we would rather forget.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964034",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Art is present throughout the documentary. It’s Valdiviezo’s only consistent anchor as she navigates stormy and uncertain waters. As a teenager growing up mired in the political turbulence of 1980s and ’90s Peru, she made experimental videos that helped her express ideas about politics and patriarchy. At the age of 25, when Valdiviezo fled the dictatorship that had just taken over her home country, she chose San Francisco as her destination because of its reputation as a “haven for artists.” After the artist found work dancing in the strip clubs of North Beach, she channeled her feelings about female power into her collages and paintings. And as Valdiviezo struggled with family trauma and resentments, she reframed photos from her past using painted embellishments.\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> captures Valdiviezo as she returns to her family in Peru after 16 years of no contact. The journey of reconnection that she goes on with her parents, brother and centenarian grandmother is a swirling mess of painful confessions, guilt, forgiveness and healing. There are moments of culture clash too, as Valdiviezo tries to process old wounds with parents who would rather keep uncomfortable truths hidden behind closed mouths and locked doors. Valdiviezo’s more Californian sensibilities are simply not understood by the people who raised her.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yzzq3BWjmhQ'\n title='//www.youtube.com/embed/yzzq3BWjmhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hanging over the film are the impossible decisions undocumented immigrants are forced to make. Valdiviezo first opted to cease all contact with her family because she believed they misunderstood and were ashamed of her. However, it’s clear that her prolonged disconnection from them was indelibly linked to her precarious legal situation in the U.S. Without any official status, Valdiviezo was unable to leave her life in America without being barred from returning to it altogether. The journey home to Peru is only possible after marriage to her Filipino American partner earns her a green card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> offers jumping off points to explain Peru’s turbulent political history, and the resistance that sprang up around that. More details about the country’s rebel groups — including \u003ca href=\"https://www.dni.gov/nctc/ftos/shining_path_fto.html\">Shining Path\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/T%C3%BApac_Amaru_Revolutionary_Movement\">Túpac Amaru Revolutionary Movement\u003c/a>, as well as the punk rock \u003cem>subtes\u003c/em> subculture — would have been a welcome addition here. Valdiviezo is far more interested in exploring her personal history than that of her home country, however. And that’s fair enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964538",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A fourth act twist brings the family closer together, inspires more honesty and prompts an exploration of lineage. In the end, it’s not just Valdiviezo who finds solace in making art. Her mother came to painting later in life, once her children were grown. Her style is different from her daughter’s and pays homage to her Incan roots, incorporating traditional Indigenous illustration, as well as \u003ca href=\"https://en.wikipedia.org/wiki/Nazca_lines\">Nazca lines\u003c/a>. As the two women paint side by side, their paintbrushes build a bridge that finally obscures their differences.\u003c/p>\n\u003cp>By the time the once-estranged daughter and mother share exhibition space at San Francisco’s \u003ca href=\"https://www.missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, it’s clear that, when it comes to Valdiviezo’s life, art is a greater healer than words, international pilgrimages and perhaps, even this wonderful film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>’ premieres at the \u003ca href=\"https://roxie.com/film/sf-latino-film-festival-prodigal-daughter/\">Roxie Theater\u003c/a> on Oct. 11, 2024 at 6:30 p.m. as part of the \u003ca href=\"https://www.cinemassf.org/\">Cine+Mas San Francisco Latino Film Festival\u003c/a>. It will also screen at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> on Nov. 2 at 2 p.m and at the \u003ca href=\"https://www.missionculturalcenter.org/shop/p/prodigal-daughter-film-or-prodigal-film-workshop\">Mission Cultural Center\u003c/a> on April 4, 2025 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13965858/prodigal-daughter-documentary-movie-review-latino-film-fest-mabel-valdiviezo",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313",
"arts_70"
],
"tags": [
"arts_13672",
"arts_10278",
"arts_7005",
"arts_5747",
"arts_585"
],
"featImg": "arts_13964047",
"label": "source_arts_13965858"
},
"arts_13966062": {
"type": "posts",
"id": "arts_13966062",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966062",
"score": null,
"sort": [
1727991122000
]
},
"guestAuthors": [],
"slug": "white-bird-review-helen-mirren-world-war-ii-movie-palacio-ya",
"title": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’",
"publishDate": 1727991122,
"format": "standard",
"headTitle": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>[aside postid='arts_13965970']It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aTTPea6gHh4\u003c/p>\n\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>[aside postid='arts_13965966']\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A young Jewish girl is concealed by a sympathetic family in this adaptation of R.J. Palacio’s graphic novel.",
"status": "publish",
"parent": 0,
"modified": 1727991122,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 617
},
"headData": {
"title": "Movie Review: ‘White Bird’ Is a WW2 Tale of Evil and Hope | KQED",
"description": "A young Jewish girl is concealed by a sympathetic family in this adaptation of R.J. Palacio’s graphic novel.",
"ogTitle": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘White Bird’ Is a WW2 Tale of Evil and Hope %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’",
"datePublished": "2024-10-03T14:32:02-07:00",
"dateModified": "2024-10-03T14:32:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13966062",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966062/white-bird-review-helen-mirren-world-war-ii-movie-palacio-ya",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965970",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aTTPea6gHh4'\n title='//www.youtube.com/embed/aTTPea6gHh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965966",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966062/white-bird-review-helen-mirren-world-war-ii-movie-palacio-ya",
"authors": [
"byline_arts_13966062"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_8905",
"arts_769",
"arts_585"
],
"featImg": "arts_13966067",
"label": "arts_140"
}
},
"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": 384,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_13966715",
"arts_13904911",
"arts_13966394",
"arts_13966358",
"arts_13966347",
"arts_13966340",
"arts_13966278",
"arts_13966259",
"arts_13966185",
"arts_13966146",
"arts_13965858",
"arts_13966062"
],
"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"
},
"source_arts_13904911": {
"type": "terms",
"id": "source_arts_13904911",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13965858": {
"type": "terms",
"id": "source_arts_13965858",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_3669": {
"type": "terms",
"id": "arts_3669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "alfred hitchcock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "alfred hitchcock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3681,
"slug": "alfred-hitchcock",
"isLoading": false,
"link": "/arts/tag/alfred-hitchcock"
},
"arts_14353": {
"type": "terms",
"id": "arts_14353",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14353",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bizarrebayarea",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bizarrebayarea Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14365,
"slug": "bizarrebayarea",
"isLoading": false,
"link": "/arts/tag/bizarrebayarea"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1206": {
"type": "terms",
"id": "arts_1206",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1206",
"found": true
},
"relationships": {},
"featImg": null,
"name": "halloween",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "halloween Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1218,
"slug": "halloween",
"isLoading": false,
"link": "/arts/tag/halloween"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_3231": {
"type": "terms",
"id": "arts_3231",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3231",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Petaluma",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Petaluma Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3243,
"slug": "petaluma",
"isLoading": false,
"link": "/arts/tag/petaluma"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_2721": {
"type": "terms",
"id": "arts_2721",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2721",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Santa Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Santa Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2733,
"slug": "santa-rosa",
"isLoading": false,
"link": "/arts/tag/santa-rosa"
},
"arts_22351": {
"type": "terms",
"id": "arts_22351",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22351",
"found": true
},
"relationships": {},
"name": "Climate",
"slug": "climate",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Climate | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22363,
"isLoading": false,
"link": "/arts/category/climate"
},
"arts_1407": {
"type": "terms",
"id": "arts_1407",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1407",
"found": true
},
"relationships": {},
"featImg": null,
"name": "climate change",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "climate change Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1419,
"slug": "climate-change",
"isLoading": false,
"link": "/arts/tag/climate-change"
},
"arts_21880": {
"type": "terms",
"id": "arts_21880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Climate",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Climate Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21892,
"slug": "climate",
"isLoading": false,
"link": "/arts/interest/climate"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_7032": {
"type": "terms",
"id": "arts_7032",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7032",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden gate theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden gate theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7044,
"slug": "golden-gate-theatre",
"isLoading": false,
"link": "/arts/tag/golden-gate-theatre"
},
"arts_4798": {
"type": "terms",
"id": "arts_4798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4798",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tickets",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tickets Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4810,
"slug": "tickets",
"isLoading": false,
"link": "/arts/tag/tickets"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_21748": {
"type": "terms",
"id": "arts_21748",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21748",
"found": true
},
"relationships": {},
"featImg": null,
"name": "biopic",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "biopic Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21760,
"slug": "biopic",
"isLoading": false,
"link": "/arts/tag/biopic"
},
"arts_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"arts_3930": {
"type": "terms",
"id": "arts_3930",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3930",
"found": true
},
"relationships": {},
"featImg": null,
"name": "romance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "romance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3942,
"slug": "romance",
"isLoading": false,
"link": "/arts/tag/romance"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1998": {
"type": "terms",
"id": "arts_1998",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1998",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Boots Riley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Boots Riley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2010,
"slug": "boots-riley",
"isLoading": false,
"link": "/arts/tag/boots-riley"
},
"arts_10001": {
"type": "terms",
"id": "arts_10001",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10001",
"found": true
},
"relationships": {},
"featImg": null,
"name": "LaKeith Stanfield",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "LaKeith Stanfield Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10013,
"slug": "lakeith-stanfield",
"isLoading": false,
"link": "/arts/tag/lakeith-stanfield"
},
"arts_3465": {
"type": "terms",
"id": "arts_3465",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3465",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movies",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3477,
"slug": "movies",
"isLoading": false,
"link": "/arts/tag/movies"
},
"arts_21868": {
"type": "terms",
"id": "arts_21868",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21868",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21880,
"slug": "california",
"isLoading": false,
"link": "/arts/interest/california"
},
"arts_21875": {
"type": "terms",
"id": "arts_21875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Criminal Justice",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Criminal Justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21887,
"slug": "criminal-justice",
"isLoading": false,
"link": "/arts/interest/criminal-justice"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_9222": {
"type": "terms",
"id": "arts_9222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple TV+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple TV+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9234,
"slug": "apple-tv",
"isLoading": false,
"link": "/arts/tag/apple-tv"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_7005": {
"type": "terms",
"id": "arts_7005",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7005",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Indigenous",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Indigenous Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7017,
"slug": "indigenous",
"isLoading": false,
"link": "/arts/tag/indigenous"
},
"arts_5747": {
"type": "terms",
"id": "arts_5747",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latinx",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latinx Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5759,
"slug": "latinx",
"isLoading": false,
"link": "/arts/tag/latinx"
},
"arts_21878": {
"type": "terms",
"id": "arts_21878",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21878",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Immigration",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21890,
"slug": "immigration",
"isLoading": false,
"link": "/arts/interest/immigration"
}
},
"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
}
}
