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_13960380": {
"type": "attachments",
"id": "arts_13960380",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960380",
"found": true
},
"title": "Lupita Nyong'o and Djimon Hounsou in ‘A Quiet Place: Day One.’",
"publishDate": 1719509216,
"status": "inherit",
"parent": 13960378,
"modified": 1719509313,
"caption": "Lupita Nyong'o and Djimon Hounsou in ‘A Quiet Place: Day One.’",
"credit": "Gareth Gatrell/Paramount Pictures via AP",
"altTag": "A Black man crouches down with his finger to his lips. Hi hand is covering the mouth of a Black woman seated in front of him. They are both covered in white dust.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-800x516.png",
"width": 800,
"height": 516,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-1020x658.png",
"width": 1020,
"height": 658,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-768x495.png",
"width": 768,
"height": 495,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-1536x991.png",
"width": 1536,
"height": 991,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM.png",
"width": 1774,
"height": 1144
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960153": {
"type": "attachments",
"id": "arts_13960153",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960153",
"found": true
},
"title": "Kinds_c",
"publishDate": 1719190164,
"status": "inherit",
"parent": 13960151,
"modified": 1719345119,
"caption": "Margaret Qualley, Willem Dafoe and Jesse Plemons in 'Kinds of Kindness.'",
"credit": "Atsushi Nishijima/Fox Searchlight Pictures",
"altTag": "Three people with heads close in tightly cropped image",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_c.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960334": {
"type": "attachments",
"id": "arts_13960334",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960334",
"found": true
},
"title": "Sean Penn stars in ‘Daddio.’",
"publishDate": 1719424208,
"status": "inherit",
"parent": 13960332,
"modified": 1719424277,
"caption": "Sean Penn stars in ‘Daddio.’",
"credit": null,
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-800x514.png",
"width": 800,
"height": 514,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1020x656.png",
"width": 1020,
"height": 656,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-768x494.png",
"width": 768,
"height": 494,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1536x988.png",
"width": 1536,
"height": 988,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1920x1235.png",
"width": 1920,
"height": 1235,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-e1719424272121.png",
"width": 1920,
"height": 1235
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960037": {
"type": "attachments",
"id": "arts_13960037",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960037",
"found": true
},
"title": "Richard Roundtree and June Squibb in ‘Thelma.’",
"publishDate": 1718904693,
"status": "inherit",
"parent": 13960032,
"modified": 1718904844,
"caption": "Richard Roundtree and June Squibb in ‘Thelma.’",
"credit": "Magnolia Pictures via AP",
"altTag": "A senior white lady with white hair rides on a mobility scooter with a snappily dressed senior Black man riding on the back.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-800x537.png",
"width": 800,
"height": 537,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-1020x684.png",
"width": 1020,
"height": 684,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-768x515.png",
"width": 768,
"height": 515,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-1536x1030.png",
"width": 1536,
"height": 1030,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM.png",
"width": 1658,
"height": 1112
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960048": {
"type": "attachments",
"id": "arts_13960048",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960048",
"found": true
},
"title": "Helen_and_the_Bear_3_Young_love_2000",
"publishDate": 1718906905,
"status": "inherit",
"parent": 13960040,
"modified": 1718907038,
"caption": "A young and in love Helen and Pete McCloskey.",
"credit": "Courtesy of Helen and Pete McCloskey’s personal archive",
"altTag": "Man and woman with heads together, eyes closed",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-800x547.jpg",
"width": 800,
"height": 547,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-1020x698.jpg",
"width": 1020,
"height": 698,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-160x109.jpg",
"width": 160,
"height": 109,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-768x525.jpg",
"width": 768,
"height": 525,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-1536x1051.jpg",
"width": 1536,
"height": 1051,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000-1920x1313.jpg",
"width": 1920,
"height": 1313,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_3_Young_love_2000.jpg",
"width": 2000,
"height": 1368
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960013": {
"type": "attachments",
"id": "arts_13960013",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960013",
"found": true
},
"title": "Jodie Comer and Austin Butler in ‘The Bikeriders.’",
"publishDate": 1718862174,
"status": "inherit",
"parent": 13960011,
"modified": 1718862242,
"caption": "Jodie Comer and Austin Butler in ‘The Bikeriders.’",
"credit": "Focus Features via AP",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-800x521.png",
"width": 800,
"height": 521,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-1020x664.png",
"width": 1020,
"height": 664,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-160x104.png",
"width": 160,
"height": 104,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-768x500.png",
"width": 768,
"height": 500,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-1536x1000.png",
"width": 1536,
"height": 1000,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.35.27-PM.png",
"width": 1738,
"height": 1132
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959919": {
"type": "attachments",
"id": "arts_13959919",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959919",
"found": true
},
"title": "‘Outstanding: A Comedy Revolution’ explores the history and current state of LGBTQ comedy. Above, Lily Tomlin, left, Wanda Sykes, Joel Kim Booster and Trixie Mattel.",
"publishDate": 1718658470,
"status": "inherit",
"parent": 13959918,
"modified": 1718658621,
"caption": "‘Outstanding: A Comedy Revolution’ explores the history and current state of LGBTQ comedy. Above, Lily Tomlin, left, Wanda Sykes, Joel Kim Booster and Trixie Mattel.",
"credit": "Netflix",
"altTag": "Photos of a white woman, a Black woman, an Asian man and a drag queen.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical.jpeg",
"width": 2400,
"height": 1350
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959900": {
"type": "attachments",
"id": "arts_13959900",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959900",
"found": true
},
"title": "‘Sharks in the Seine’ — mon dieu!",
"publishDate": 1718644680,
"status": "inherit",
"parent": 13959899,
"modified": 1718645214,
"caption": "‘Sharks in the Seine’ — mon dieu!",
"credit": "Netflix/Sofie Gheysens",
"altTag": "A woman floats upright under water, facing an enormous shark.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-800x513.jpeg",
"width": 800,
"height": 513,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1020x654.jpeg",
"width": 1020,
"height": 654,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-160x103.jpeg",
"width": 160,
"height": 103,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-768x492.jpeg",
"width": 768,
"height": 492,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1536x984.jpeg",
"width": 1536,
"height": 984,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-2048x1312.jpeg",
"width": 2048,
"height": 1312,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1920x1230.jpeg",
"width": 1920,
"height": 1230,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-e1718645142576.jpeg",
"width": 1920,
"height": 1230
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959864": {
"type": "attachments",
"id": "arts_13959864",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959864",
"found": true
},
"title": "Joy and Anxiety (voiced by Amy Poehler and Maya Hawke) meet in Riley's head in ‘Inside Out 2.’",
"publishDate": 1718385037,
"status": "inherit",
"parent": 13959859,
"modified": 1718385377,
"caption": "Joy and Anxiety (voiced by Amy Poehler and Maya Hawke) meet in Riley's head in ‘Inside Out 2.’",
"credit": "Pixar/PIXAR/Disney/Pixar",
"altTag": "Animation of a joyful girl with her arms in the air next to a strange-looking creature who resembles a troll.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM-800x486.png",
"width": 800,
"height": 486,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM-1020x620.png",
"width": 1020,
"height": 620,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM-160x97.png",
"width": 160,
"height": 97,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM-768x467.png",
"width": 768,
"height": 467,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-10.09.49-AM.png",
"width": 1536,
"height": 934
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959797": {
"type": "attachments",
"id": "arts_13959797",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959797",
"found": true
},
"title": "For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer.",
"publishDate": 1718308519,
"status": "inherit",
"parent": 13959796,
"modified": 1718312724,
"caption": "For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer.",
"credit": "Courtesy of the artist",
"altTag": "A large Black man stands behind a microphone in a studio while a smiling Black woman crouches nearby.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-800x600.jpeg",
"width": 800,
"height": 600,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-1020x765.jpeg",
"width": 1020,
"height": 765,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-160x120.jpeg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-768x576.jpeg",
"width": 768,
"height": 576,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-1536x1152.jpeg",
"width": 1536,
"height": 1152,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-2048x1536.jpeg",
"width": 2048,
"height": 1536,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/iwaad-s16-1-1920x1440.jpeg",
"width": 1920,
"height": 1440,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "2024/06/iwaad-s16-1-e1718312735939.jpeg",
"width": 1920,
"height": 1440
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959835": {
"type": "attachments",
"id": "arts_13959835",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959835",
"found": true
},
"title": "TREASURE-Key-Still-",
"publishDate": 1718323126,
"status": "inherit",
"parent": 13959801,
"modified": 1718323221,
"caption": "Stephen Fry and Lena Dunham in 'Treasure.'",
"credit": "Bleecker Street and FilmNation",
"altTag": "A tall man in a beard and a shorter woman in a large coat look at each other with a knowing look.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--800x480.jpg",
"width": 800,
"height": 480,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--1020x612.jpg",
"width": 1020,
"height": 612,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--160x96.jpg",
"width": 160,
"height": 96,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--768x461.jpg",
"width": 768,
"height": 461,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--1536x922.jpg",
"width": 1536,
"height": 922,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still-.jpg",
"width": 1920,
"height": 1152
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959715": {
"type": "attachments",
"id": "arts_13959715",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959715",
"found": true
},
"title": "Clara Pérez, director of the documentary film, A Place to Call Home.",
"publishDate": 1718225966,
"status": "inherit",
"parent": 13959712,
"modified": 1718306269,
"caption": "Clara Pérez, director of the documentary film 'A Place to Call Home.'",
"credit": "Courtesy of Clara Pérez",
"altTag": "Filmmaker Clara Pérez, shown wearing their director's cap and holding a video camera.",
"description": "Clara Pérez, director of the documentary film, A Place to Call Home. ",
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-800x600.jpg",
"width": 800,
"height": 600,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1020x765.jpg",
"width": 1020,
"height": 765,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-160x120.jpg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-768x576.jpg",
"width": 768,
"height": 576,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1536x1152.jpg",
"width": 1536,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-1920x1440.jpg",
"width": 1920,
"height": 1440,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed.jpg",
"width": 2048,
"height": 1536
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13960378": {
"type": "authors",
"id": "byline_arts_13960378",
"meta": {
"override": true
},
"slug": "byline_arts_13960378",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13960332": {
"type": "authors",
"id": "byline_arts_13960332",
"meta": {
"override": true
},
"slug": "byline_arts_13960332",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13960032": {
"type": "authors",
"id": "byline_arts_13960032",
"meta": {
"override": true
},
"slug": "byline_arts_13960032",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13960011": {
"type": "authors",
"id": "byline_arts_13960011",
"meta": {
"override": true
},
"slug": "byline_arts_13960011",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13959918": {
"type": "authors",
"id": "byline_arts_13959918",
"meta": {
"override": true
},
"slug": "byline_arts_13959918",
"name": "Elizabeth Blair, NPR",
"isLoading": false
},
"byline_arts_13959899": {
"type": "authors",
"id": "byline_arts_13959899",
"meta": {
"override": true
},
"slug": "byline_arts_13959899",
"name": "Linda Holmes, NPR",
"isLoading": false
},
"byline_arts_13959859": {
"type": "authors",
"id": "byline_arts_13959859",
"meta": {
"override": true
},
"slug": "byline_arts_13959859",
"name": "Justin Chang, NPR",
"isLoading": false
},
"byline_arts_13959796": {
"type": "authors",
"id": "byline_arts_13959796",
"meta": {
"override": true
},
"slug": "byline_arts_13959796",
"name": "Sidney Madden, NPR",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.562521
},
"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": 41
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 41
}
},
{
"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_13960378": {
"type": "posts",
"id": "arts_13960378",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960378",
"score": null,
"sort": [
1719509374000
]
},
"guestAuthors": [],
"slug": "a-quiet-place-day-one-movie-review-prequel-lupita-nyongo",
"title": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"publishDate": 1719509374,
"format": "standard",
"headTitle": "Shhhh… the Novelty is Gone in ‘A Quiet Place’ Prequel | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>[aside postid='arts_13960151']There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-WIb4ATfT8\u003c/p>\n\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13960332']Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Day One’ is an unnecessary movie about a few new characters in New York on the first day of the invasion. ",
"status": "publish",
"parent": 0,
"modified": 1719509374,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 585
},
"headData": {
"title": "Movie Review: ‘A Quiet Place: Day One’ Lets Down the Franchise | KQED",
"description": "‘Day One’ is an unnecessary movie about a few new characters in New York on the first day of the invasion. ",
"ogTitle": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘A Quiet Place: Day One’ Lets Down the Franchise %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"datePublished": "2024-06-27T10:29:34-07:00",
"dateModified": "2024-06-27T10:29:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13960378",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960378/a-quiet-place-day-one-movie-review-prequel-lupita-nyongo",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960151",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E-WIb4ATfT8'\n title='//www.youtube.com/embed/E-WIb4ATfT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\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/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960378/a-quiet-place-day-one-movie-review-prequel-lupita-nyongo",
"authors": [
"byline_arts_13960378"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5087",
"arts_769"
],
"featImg": "arts_13960380",
"label": "arts"
},
"arts_13960151": {
"type": "posts",
"id": "arts_13960151",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960151",
"score": null,
"sort": [
1719500422000
]
},
"guestAuthors": [],
"slug": "kinds-of-kindness-yorgos-lanthimos-film-review",
"title": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls",
"publishDate": 1719500422,
"format": "standard",
"headTitle": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>No one would mistake one of Francis Bacon’s triptychs for a dose of painterly realism. \u003ci>\u003ca href=\"https://www.guggenheim.org/artwork/293\">Three Studies for a Crucifixion\u003c/a>\u003c/i> is a portrait of a soul, or souls, in distress. The series of contorted bodies dripping with intestinal gore are recognizable as human artifacts — the exhausted aftermath of lives undone by an array of physical and psychological torments.\u003c/p>\n\u003cp>In Yorgos Lanthimos’ \u003ci>Kinds of Kindness\u003c/i>, the director has made his own harrowing triptych: a starched, unblinking look at a variety of souls pressed together and blessed with the capacity to cause harm and induce grief. When Annie Lennox starts singing “\u003ca href=\"https://youtu.be/qeMFqkcPYcg?feature=shared\">Sweet Dreams (Are Made of This)\u003c/a>” over the opening sequence, Lanthimos announces the movie’s theme with characteristic bluntness. Everybody’s looking for someone to use and abuse — or wants to be used and abused.\u003c/p>\n\u003cp>In three distinct segments, each with its own subtitle, Lanthimos foregrounds abusers with malevolent or sadistic imaginations. Their victims are both willing and unwilling. These roles are unfixed: the seven main actors reappear in each storyline as different characters, swapping power dynamics.\u003c/p>\n\u003cfigure id=\"attachment_13960154\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg\" alt=\"Two people on couch, one lays with head in the other's lap\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hong Chau and Jesse Plemons in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many films structure their narrative arcs around a struggle between good and evil, Lanthimos begins \u003ci>Kinds of Kindness\u003c/i>, as he does most of his films, after goodness has already surrendered. His characters have been bled dry of pure intentions. He builds an unbearable amount of tension in long takes, just to see how bad things can get. The body, and the spirit housed within it, will not triumph. Lanthimos is there to zoom in on his characters’ parallel states of decay.\u003c/p>\n\u003cp>In the first segment, Robert (Jesse Plemons) deliberately crashes his SUV into another car. The next day at work, we meet Robert’s employer Raymond (Willem Dafoe), their conversation a brittle confrontation between supplicant and omnipotent master. For a decade, Raymond has provided Robert with a written list of instructions that dictate his daily life, including what food he eats and when he can have sex with his wife Sarah (Hong Chau).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Robert visits Raymond’s home to beg off a second car crash, Dafoe, with a measured degree of glee and malevolence, slips into the role of an exacting film director. He repeatedly asks Robert to reenact his scripted entrance into the living room.\u003c/p>\n\u003cfigure id=\"attachment_13960158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg\" alt=\"Person stands in parking lot looking up, person in wheelchair nearby\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part two amps up the series of absurd situations by implying that a police officer’s wife (Emma Stone) is an imposter, a supernatural replacement. When her shoes no longer fit, her husband (Plemons) becomes suspicious. His theory is confirmed when, at his request, she’s willing to cut off one of her fingers, cook it and then serve it to him for dinner with a side of roasted cauliflower.\u003c/p>\n\u003cp>Self-mutilation and homemade pornography make up the middle section of the film; rape, kidnapping, suicide and a cult dedicated to free love form the basis of part three. Car crashes open and close the trio. (In all this darkness, it’s a wonder Lanthimos manages to avoid bestiality, incest and pedophilia.)\u003c/p>\n\u003cp>In Lanthimos’ last film, \u003ci>Poor Things\u003c/i>, Gothic trappings and a fisheye lens made it easy for viewers to categorize it as a fable. It’s the dialogue in \u003ci>Kinds of Kindness\u003c/i>, not the costumes, set design or camera angles, that signals the film’s increasing sense of menace. The actors’ stiff, affectless line readings aren’t meant to conjure up relatable emotions. Lanthimos empowers his actors to forsake the conscience and moral center of the characters they play.\u003c/p>\n\u003cfigure id=\"attachment_13960078\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png\" alt=\"A man and woman stand side-by-side behind a large outdoor receptacle of water. There are a few women standing behind them.\" width=\"1470\" height=\"972\" class=\"size-full wp-image-13960078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-768x508.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone and Jesse Plemons play cult members in one story segment from ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the film, Jerskin Fendrix’s plangent piano soundtrack haunts Plemons’ three characters, but little else connects his roles. The entire cast of multiple selves are unified solely by their raw and unyielding appetites. Like Francis Bacon, Lanthimos favors a brutal vision of humanity that makes realistic portraiture pale in comparison.\u003c/p>\n\u003cp>The three parts of \u003ci>Kinds of Kindness\u003c/i> add up to a theater of cruelty that should appeal to nihilists, pessimists and anyone willing to indulge in 165 minutes of unremitting bleakness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kinds of Kindness’ opens in Bay Area theaters on Friday, June 28, 2024.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In his new film, director Yorgos Lanthimos invests his imagination in all forms of human cruelty.",
"status": "publish",
"parent": 0,
"modified": 1719420950,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 747
},
"headData": {
"title": "‘Kinds of Kindness’ Review: A Bleak Triptych | KQED",
"description": "In his new film, director Yorgos Lanthimos invests his imagination in all forms of human cruelty.",
"ogTitle": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Kinds of Kindness’ Review: A Bleak Triptych %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls",
"datePublished": "2024-06-27T08:00:22-07:00",
"dateModified": "2024-06-26T09:55:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13960151/kinds-of-kindness-yorgos-lanthimos-film-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one would mistake one of Francis Bacon’s triptychs for a dose of painterly realism. \u003ci>\u003ca href=\"https://www.guggenheim.org/artwork/293\">Three Studies for a Crucifixion\u003c/a>\u003c/i> is a portrait of a soul, or souls, in distress. The series of contorted bodies dripping with intestinal gore are recognizable as human artifacts — the exhausted aftermath of lives undone by an array of physical and psychological torments.\u003c/p>\n\u003cp>In Yorgos Lanthimos’ \u003ci>Kinds of Kindness\u003c/i>, the director has made his own harrowing triptych: a starched, unblinking look at a variety of souls pressed together and blessed with the capacity to cause harm and induce grief. When Annie Lennox starts singing “\u003ca href=\"https://youtu.be/qeMFqkcPYcg?feature=shared\">Sweet Dreams (Are Made of This)\u003c/a>” over the opening sequence, Lanthimos announces the movie’s theme with characteristic bluntness. Everybody’s looking for someone to use and abuse — or wants to be used and abused.\u003c/p>\n\u003cp>In three distinct segments, each with its own subtitle, Lanthimos foregrounds abusers with malevolent or sadistic imaginations. Their victims are both willing and unwilling. These roles are unfixed: the seven main actors reappear in each storyline as different characters, swapping power dynamics.\u003c/p>\n\u003cfigure id=\"attachment_13960154\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg\" alt=\"Two people on couch, one lays with head in the other's lap\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hong Chau and Jesse Plemons in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many films structure their narrative arcs around a struggle between good and evil, Lanthimos begins \u003ci>Kinds of Kindness\u003c/i>, as he does most of his films, after goodness has already surrendered. His characters have been bled dry of pure intentions. He builds an unbearable amount of tension in long takes, just to see how bad things can get. The body, and the spirit housed within it, will not triumph. Lanthimos is there to zoom in on his characters’ parallel states of decay.\u003c/p>\n\u003cp>In the first segment, Robert (Jesse Plemons) deliberately crashes his SUV into another car. The next day at work, we meet Robert’s employer Raymond (Willem Dafoe), their conversation a brittle confrontation between supplicant and omnipotent master. For a decade, Raymond has provided Robert with a written list of instructions that dictate his daily life, including what food he eats and when he can have sex with his wife Sarah (Hong Chau).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Robert visits Raymond’s home to beg off a second car crash, Dafoe, with a measured degree of glee and malevolence, slips into the role of an exacting film director. He repeatedly asks Robert to reenact his scripted entrance into the living room.\u003c/p>\n\u003cfigure id=\"attachment_13960158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg\" alt=\"Person stands in parking lot looking up, person in wheelchair nearby\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part two amps up the series of absurd situations by implying that a police officer’s wife (Emma Stone) is an imposter, a supernatural replacement. When her shoes no longer fit, her husband (Plemons) becomes suspicious. His theory is confirmed when, at his request, she’s willing to cut off one of her fingers, cook it and then serve it to him for dinner with a side of roasted cauliflower.\u003c/p>\n\u003cp>Self-mutilation and homemade pornography make up the middle section of the film; rape, kidnapping, suicide and a cult dedicated to free love form the basis of part three. Car crashes open and close the trio. (In all this darkness, it’s a wonder Lanthimos manages to avoid bestiality, incest and pedophilia.)\u003c/p>\n\u003cp>In Lanthimos’ last film, \u003ci>Poor Things\u003c/i>, Gothic trappings and a fisheye lens made it easy for viewers to categorize it as a fable. It’s the dialogue in \u003ci>Kinds of Kindness\u003c/i>, not the costumes, set design or camera angles, that signals the film’s increasing sense of menace. The actors’ stiff, affectless line readings aren’t meant to conjure up relatable emotions. Lanthimos empowers his actors to forsake the conscience and moral center of the characters they play.\u003c/p>\n\u003cfigure id=\"attachment_13960078\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png\" alt=\"A man and woman stand side-by-side behind a large outdoor receptacle of water. There are a few women standing behind them.\" width=\"1470\" height=\"972\" class=\"size-full wp-image-13960078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-768x508.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone and Jesse Plemons play cult members in one story segment from ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the film, Jerskin Fendrix’s plangent piano soundtrack haunts Plemons’ three characters, but little else connects his roles. The entire cast of multiple selves are unified solely by their raw and unyielding appetites. Like Francis Bacon, Lanthimos favors a brutal vision of humanity that makes realistic portraiture pale in comparison.\u003c/p>\n\u003cp>The three parts of \u003ci>Kinds of Kindness\u003c/i> add up to a theater of cruelty that should appeal to nihilists, pessimists and anyone willing to indulge in 165 minutes of unremitting bleakness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kinds of Kindness’ opens in Bay Area theaters on Friday, June 28, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960151/kinds-of-kindness-yorgos-lanthimos-film-review",
"authors": [
"42"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_977",
"arts_769",
"arts_585"
],
"featImg": "arts_13960153",
"label": "arts_140"
},
"arts_13960332": {
"type": "posts",
"id": "arts_13960332",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960332",
"score": null,
"sort": [
1719424324000
]
},
"guestAuthors": [],
"slug": "daddio-movie-review-dakota-johnson-sean-penn-cab-christy-hall",
"title": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"publishDate": 1719424324,
"format": "aside",
"headTitle": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13960333\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png\" alt=\"A male taxi driver looks over his shoulder and looks at the woman in the back of his cab.\" width=\"1698\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1536x1022.png 1536w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Dakota Johnson and Sean Penn star in ‘Daddio.’ \u003ccite>(Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s late at night when Dakota Johnson hops into a yellow taxicab at Kennedy airport in the new film \u003cem>Daddio\u003c/em>. She’s just going home to Manhattan, 44th Street, between 9th and 10th avenues. And her cab driver (Sean Penn) decides to strike up a conversation that will last the duration of this nearly 100-minute ride. There is no “quiet” setting cab.\u003c/p>\n\u003cp>This is not a horror movie, though for some a chatty driver on an unexpectedly long trip might be close. It’s not the beginning of a wild \u003cem>Collateral\u003c/em>-style night either. No, these two people from different generations, different life experiences and different classes just talk about everything — life, mistakes, technology, human nature, what makes a New Yorker, absentee fathers, affairs, human nature and love.\u003c/p>\n\u003cp>[aside postid='arts_13959268']\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PJrr2amlFyc\u003c/p>\n\u003cp>Clark is one of those self-proclaimed truth-tellers who believes in his ability to read a person immediately, well-honed after 20 years of driving taxis in New York. He lures his passenger in with flattery about her New York savvy (giving cross streets instead of an address and not worrying about the meter) and shocks her when he’s able to immediately discern that the person she’s dating, and texting, is married. Her guard up a bit at the beginning with short, impersonal responses to Clark, who would ungenerously be described as a chronic mansplainer, but pretty soon they’re both in a therapy session (though mostly for her).\u003c/p>\n\u003cp>[aside postid='arts_13960040']It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Playwright Christy Hall’s movie debut is a captivating musing on connection, empathy and intergenerational schisms.",
"status": "publish",
"parent": 0,
"modified": 1719424324,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 610
},
"headData": {
"title": "‘Daddio’ Review: Dakota Johnson, Sean Penn Take a Moving Ride | KQED",
"description": "Playwright Christy Hall’s movie debut is a captivating musing on connection, empathy and intergenerational schisms.",
"ogTitle": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Daddio’ Review: Dakota Johnson, Sean Penn Take a Moving Ride %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"datePublished": "2024-06-26T10:52:04-07:00",
"dateModified": "2024-06-26T10:52:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13960332",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960332/daddio-movie-review-dakota-johnson-sean-penn-cab-christy-hall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960333\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png\" alt=\"A male taxi driver looks over his shoulder and looks at the woman in the back of his cab.\" width=\"1698\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1536x1022.png 1536w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Dakota Johnson and Sean Penn star in ‘Daddio.’ \u003ccite>(Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s late at night when Dakota Johnson hops into a yellow taxicab at Kennedy airport in the new film \u003cem>Daddio\u003c/em>. She’s just going home to Manhattan, 44th Street, between 9th and 10th avenues. And her cab driver (Sean Penn) decides to strike up a conversation that will last the duration of this nearly 100-minute ride. There is no “quiet” setting cab.\u003c/p>\n\u003cp>This is not a horror movie, though for some a chatty driver on an unexpectedly long trip might be close. It’s not the beginning of a wild \u003cem>Collateral\u003c/em>-style night either. No, these two people from different generations, different life experiences and different classes just talk about everything — life, mistakes, technology, human nature, what makes a New Yorker, absentee fathers, affairs, human nature and love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959268",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\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/PJrr2amlFyc'\n title='//www.youtube.com/embed/PJrr2amlFyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clark is one of those self-proclaimed truth-tellers who believes in his ability to read a person immediately, well-honed after 20 years of driving taxis in New York. He lures his passenger in with flattery about her New York savvy (giving cross streets instead of an address and not worrying about the meter) and shocks her when he’s able to immediately discern that the person she’s dating, and texting, is married. Her guard up a bit at the beginning with short, impersonal responses to Clark, who would ungenerously be described as a chronic mansplainer, but pretty soon they’re both in a therapy session (though mostly for her).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960040",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960332/daddio-movie-review-dakota-johnson-sean-penn-cab-christy-hall",
"authors": [
"byline_arts_13960332"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_13090",
"arts_769",
"arts_585"
],
"featImg": "arts_13960334",
"label": "arts_140"
},
"arts_13960032": {
"type": "posts",
"id": "arts_13960032",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960032",
"score": null,
"sort": [
1718908040000
]
},
"guestAuthors": [],
"slug": "thelma-movie-review-june-squibb-delightful-revenge-comedy",
"title": "June Squibb Is Delightful as a Grandma on a Mission in ‘Thelma’",
"publishDate": 1718908040,
"format": "standard",
"headTitle": "June Squibb Is Delightful as a Grandma on a Mission in ‘Thelma’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>[aside postid='arts_13959577']Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>[aside postid='arts_13959801']Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Comedic banter, wonderful chemistry and a perfect leading lady make for an unexpectedly entertaining revenge-comedy.",
"status": "publish",
"parent": 0,
"modified": 1718905310,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 740
},
"headData": {
"title": "‘Thelma’ Review: June Squibb Delights in This Creative Comedy | KQED",
"description": "Comedic banter, wonderful chemistry and a perfect leading lady make for an unexpectedly entertaining revenge-comedy.",
"ogTitle": "June Squibb is Delightful as a Grandma on a Mission in ‘Thelma’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "June Squibb is Delightful as a Grandma on a Mission in ‘Thelma’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Thelma’ Review: June Squibb Delights in This Creative Comedy %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "June Squibb Is Delightful as a Grandma on a Mission in ‘Thelma’",
"datePublished": "2024-06-20T11:27:20-07:00",
"dateModified": "2024-06-20T10:41:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t 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>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959801",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy",
"authors": [
"byline_arts_13960032"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13960037",
"label": "arts_140"
},
"arts_13960040": {
"type": "posts",
"id": "arts_13960040",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960040",
"score": null,
"sort": [
1718907336000
]
},
"guestAuthors": [],
"slug": "helen-and-the-bear-frameline-documentary-pete-mccloskey",
"title": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style",
"publishDate": 1718907336,
"format": "standard",
"headTitle": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>[aside postID='arts_13957326']McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Alix Blair’s Frameline documentary is a risky, rewarding portrait of her aunt’s marriage to Rep. Pete McCloskey.",
"status": "publish",
"parent": 0,
"modified": 1750185760,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 869
},
"headData": {
"title": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style | KQED",
"description": "Alix Blair’s Frameline documentary is a risky, rewarding portrait of her aunt’s marriage to Rep. Pete McCloskey.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style",
"datePublished": "2024-06-20T11:15:36-07:00",
"dateModified": "2025-06-17T11:42:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13960040",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13960040/helen-and-the-bear-frameline-documentary-pete-mccloskey",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957326",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960040/helen-and-the-bear-frameline-documentary-pete-mccloskey",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_13672",
"arts_977",
"arts_7666",
"arts_769",
"arts_585"
],
"featImg": "arts_13960048",
"label": "arts_140"
},
"arts_13960011": {
"type": "posts",
"id": "arts_13960011",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960011",
"score": null,
"sort": [
1718893246000
]
},
"guestAuthors": [],
"slug": "the-bikeriders-movie-review-austin-butler-danny-lyon-real-life-vandals",
"title": "In ‘The Bikeriders,’ the Birth of a Subculture on Two Wheels",
"publishDate": 1718893246,
"format": "standard",
"headTitle": "In ‘The Bikeriders,’ the Birth of a Subculture on Two Wheels | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Still images have been a source of wonder and mythology in the films of Jeff Nichols.\u003c/p>\n\u003cp>[aside postid='arts_13959899']\u003cem>Mud,\u003c/em> Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. \u003cem>Loving\u003c/em>, about a ’60s interracial marriage, took inspiration from tender \u003cem>Life\u003c/em> magazine photographs taken of the real-life couple. Nichols’ latest, \u003cem>The Bikeriders\u003c/em>, is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.\u003c/p>\n\u003cp>It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of \u003cem>Loving\u003c/em>, they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70&t=10s\u003c/p>\n\u003cp>In the exhilarating first half of \u003cem>The Bikeriders\u003c/em>, which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. \u003cem>The Bikeriders\u003c/em> eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The framing device Nichols settles on is Lyon, himself, played by Mike Faist, who’s conducting interviews for his book. His conversations with a woman named Kathy (Jodie Comer) bookend and sporadically narrate the movie.\u003c/p>\n\u003cp>[aside postid='arts_13959796']Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny (Austin Butler) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.\u003c/p>\n\u003cp>Nichols, a devotee of films like \u003cem>Hud\u003c/em> and \u003cem>Cool Hand Luke\u003c/em>, is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from \u003cem>The Wild One\u003c/em> is even briefly seen on a small TV in \u003cem>The Bikeriders\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13960012\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png\" alt=\"A man stands with an unlit cigarette dangling from his mouth. At his side, a second man wearing a leather jacket.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Damon Herriman and Tom Hardy in a scene from ‘The Bikeriders.’ \u003ccite>(Focus Features via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).\u003c/p>\n\u003cp>“Obscenity and motorcycles travel hand in hand,” someone says, with pride.\u003c/p>\n\u003cp>The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.\u003c/p>\n\u003cp>[aside postid='arts_13959670']Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.\u003c/p>\n\u003cp>But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.\u003c/p>\n\u003cp>As the Vandals’ original ideals disintegrate, it can feel like \u003cem>The Bikeriders\u003c/em> gets locked into a familiar \u003cem>Goodfellas\u003c/em>-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (\u003cem>Take Shelter\u003c/em>, \u003cem>Mud\u003c/em>) strive for a balancing act that can be elusive.\u003c/p>\n\u003cp>But I think it’s those dual impulses — and, again, all the cool jackets — that makes \u003cem>The Bikeriders\u003c/em> work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. \u003cem>The Bikeriders\u003c/em> has its hands firmly on the throttle just it does the brakes.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Bikeriders’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Jeff Nichols’ ‘The Bikeriders’ is based on photographer Danny Lyon’s 1968 book of the same name, about a Chicago motorcycle club.",
"status": "publish",
"parent": 0,
"modified": 1718862765,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1029
},
"headData": {
"title": "‘The Bikeriders’ Review: Jeff Nichols’ Ambitious Biker Movie Slays | KQED",
"description": "Jeff Nichols’ ‘The Bikeriders’ is based on photographer Danny Lyon’s 1968 book of the same name, about a Chicago motorcycle club.",
"ogTitle": "In ‘The Bikeriders,’ the Birth of a Subculture on Two Wheels",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In ‘The Bikeriders,’ the Birth of a Subculture on Two Wheels",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘The Bikeriders’ Review: Jeff Nichols’ Ambitious Biker Movie Slays %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘The Bikeriders,’ the Birth of a Subculture on Two Wheels",
"datePublished": "2024-06-20T07:20:46-07:00",
"dateModified": "2024-06-19T22:52:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960011/the-bikeriders-movie-review-austin-butler-danny-lyon-real-life-vandals",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Still images have been a source of wonder and mythology in the films of Jeff Nichols.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959899",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mud,\u003c/em> Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. \u003cem>Loving\u003c/em>, about a ’60s interracial marriage, took inspiration from tender \u003cem>Life\u003c/em> magazine photographs taken of the real-life couple. Nichols’ latest, \u003cem>The Bikeriders\u003c/em>, is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.\u003c/p>\n\u003cp>It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of \u003cem>Loving\u003c/em>, they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the exhilarating first half of \u003cem>The Bikeriders\u003c/em>, which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. \u003cem>The Bikeriders\u003c/em> eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.\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 framing device Nichols settles on is Lyon, himself, played by Mike Faist, who’s conducting interviews for his book. His conversations with a woman named Kathy (Jodie Comer) bookend and sporadically narrate the movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959796",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny (Austin Butler) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.\u003c/p>\n\u003cp>Nichols, a devotee of films like \u003cem>Hud\u003c/em> and \u003cem>Cool Hand Luke\u003c/em>, is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from \u003cem>The Wild One\u003c/em> is even briefly seen on a small TV in \u003cem>The Bikeriders\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13960012\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png\" alt=\"A man stands with an unlit cigarette dangling from his mouth. At his side, a second man wearing a leather jacket.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Damon Herriman and Tom Hardy in a scene from ‘The Bikeriders.’ \u003ccite>(Focus Features via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).\u003c/p>\n\u003cp>“Obscenity and motorcycles travel hand in hand,” someone says, with pride.\u003c/p>\n\u003cp>The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959670",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.\u003c/p>\n\u003cp>But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.\u003c/p>\n\u003cp>As the Vandals’ original ideals disintegrate, it can feel like \u003cem>The Bikeriders\u003c/em> gets locked into a familiar \u003cem>Goodfellas\u003c/em>-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (\u003cem>Take Shelter\u003c/em>, \u003cem>Mud\u003c/em>) strive for a balancing act that can be elusive.\u003c/p>\n\u003cp>But I think it’s those dual impulses — and, again, all the cool jackets — that makes \u003cem>The Bikeriders\u003c/em> work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. \u003cem>The Bikeriders\u003c/em> has its hands firmly on the throttle just it does the brakes.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Bikeriders’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960011/the-bikeriders-movie-review-austin-butler-danny-lyon-real-life-vandals",
"authors": [
"byline_arts_13960011"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_8291",
"arts_585"
],
"featImg": "arts_13960013",
"label": "arts_140"
},
"arts_13959918": {
"type": "posts",
"id": "arts_13959918",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959918",
"score": null,
"sort": [
1718659876000
]
},
"guestAuthors": [],
"slug": "lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"title": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"publishDate": 1718659876,
"format": "standard",
"headTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>[aside postid='arts_13959601']A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dEZX9LNX3BA\u003c/p>\n\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>[aside postid='arts_13959827']As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>[aside postid='arts_13958734']Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "New Netflix documentary ‘Outstanding: A Comedy Revolution’ features interviews with dozens of gay and trans comics.",
"status": "publish",
"parent": 0,
"modified": 1718659876,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 872
},
"headData": {
"title": "Movie Review: ‘Outstanding: A Comedy Revolution’ on Netflix | KQED",
"description": "New Netflix documentary ‘Outstanding: A Comedy Revolution’ features interviews with dozens of gay and trans comics.",
"ogTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Outstanding: A Comedy Revolution’ on Netflix %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"datePublished": "2024-06-17T14:31:16-07:00",
"dateModified": "2024-06-17T14:31:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Elizabeth Blair, NPR",
"nprStoryId": "nx-s1-4907292",
"nprHtmlLink": "https://www.npr.org/2024/06/04/nx-s1-4907292/outstanding-documentary-lgbtq-comedy",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-17T15:23:07.094-04:00",
"nprStoryDate": "2024-06-17T15:23:07.094-04:00",
"nprLastModifiedDate": "2024-06-17T16:18:21.93-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959918/lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959601",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\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/dEZX9LNX3BA'\n title='//www.youtube.com/embed/dEZX9LNX3BA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\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>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959827",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958734",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959918/lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"authors": [
"byline_arts_13959918"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_3226",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959919",
"label": "arts_137"
},
"arts_13959899": {
"type": "posts",
"id": "arts_13959899",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959899",
"score": null,
"sort": [
1718649954000
]
},
"guestAuthors": [],
"slug": "under-paris-shark-horror-movie-netflix-french",
"title": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"publishDate": 1718649954,
"format": "standard",
"headTitle": "‘Under Paris’ Is a Seine-Sational French Shark Movie | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>[aside postid='arts_13959801']\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jnCefPQIH98\u003c/p>\n\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>[aside postid='arts_13959670']All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> 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>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "If you’re watching the movie with English subtitles on, you will see a lot of the caption \"panicked screams.\"",
"status": "publish",
"parent": 0,
"modified": 1718650200,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 787
},
"headData": {
"title": "‘Under Paris’ Movie Review: This Sharknadeau Is Incredible Fun | KQED",
"description": "If you’re watching the movie with English subtitles on, you will see a lot of the caption "panicked screams."",
"ogTitle": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Under Paris’ Movie Review: This Sharknadeau Is Incredible Fun %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"datePublished": "2024-06-17T11:45:54-07:00",
"dateModified": "2024-06-17T11:50:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes, NPR",
"nprStoryId": "nx-s1-5006140",
"nprHtmlLink": "https://www.npr.org/2024/06/15/nx-s1-5006140/under-paris-review-sharks",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-15T07:00:00-04:00",
"nprStoryDate": "2024-06-15T07:00:00-04:00",
"nprLastModifiedDate": "2024-06-15T07:01:16.752-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959899/under-paris-shark-horror-movie-netflix-french",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959801",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\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/jnCefPQIH98'\n title='//www.youtube.com/embed/jnCefPQIH98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959670",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> 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>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959899/under-paris-shark-horror-movie-netflix-french",
"authors": [
"byline_arts_13959899"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9124",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959900",
"label": "arts_140"
},
"arts_13959859": {
"type": "posts",
"id": "arts_13959859",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959859",
"score": null,
"sort": [
1718386503000
]
},
"guestAuthors": [],
"slug": "inside-out-2-review-pixar-teen-movie-amy-poehler-maya-hawke",
"title": "New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film",
"publishDate": 1718386503,
"format": "standard",
"headTitle": "New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>[aside postid='arts_13959577']But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0&t=15s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>[aside postid='arts_13958728']I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Inside Out 2’ catches up with protagonist Riley at age 13, just as Anxiety enters her emotional life. ",
"status": "publish",
"parent": 0,
"modified": 1718386503,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 837
},
"headData": {
"title": "‘Inside Out 2’ Review: Teen Emotions Show Up, Anxiety Included | KQED",
"description": "‘Inside Out 2’ catches up with protagonist Riley at age 13, just as Anxiety enters her emotional life. ",
"ogTitle": "New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film",
"ogDescription": "",
"ogImgId": "",
"twTitle": "New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Inside Out 2’ Review: Teen Emotions Show Up, Anxiety Included %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film",
"datePublished": "2024-06-14T10:35:03-07:00",
"dateModified": "2024-06-14T10:35:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Justin Chang, NPR",
"nprStoryId": "nx-s1-4992700",
"nprHtmlLink": "https://www.npr.org/2024/06/04/nx-s1-4992700/inside-out-2-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-14T11:51:40.924-04:00",
"nprStoryDate": "2024-06-14T11:51:40.924-04:00",
"nprLastModifiedDate": "2024-06-14T11:51:40.924-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959859/inside-out-2-review-pixar-teen-movie-amy-poehler-maya-hawke",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958728",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959859/inside-out-2-review-pixar-teen-movie-amy-poehler-maya-hawke",
"authors": [
"byline_arts_13959859"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_4262",
"arts_1900",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959864",
"label": "arts_140"
},
"arts_13959796": {
"type": "posts",
"id": "arts_13959796",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959796",
"score": null,
"sort": [
1718382816000
]
},
"guestAuthors": [
{
"ID": "13818453",
"displayName": "Sidney Madden",
"firstName": "Sidney",
"lastName": "Madden",
"userLogin": "sidney-madden",
"userEmail": "",
"linkedAccount": "",
"website": "https://www.npr.org/people/565465074/sidney-madden",
"description": "",
"userNicename": "sidney-madden",
"type": "guest-author",
"nickname": ""
}
],
"slug": "dream-hampton-documentary-it-was-all-a-dream-90s-hip-hop-home-videost",
"title": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist",
"publishDate": 1718382816,
"format": "standard",
"headTitle": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>[aside postid='arts_13932030']During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>[aside postid='arts_13934460']hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>[aside postid='arts_13927349']These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n",
"blocks": [],
"excerpt": "dream hampton uses her own never-before-seen footage of rap's golden age to illustrate the labor of women who love the music.",
"status": "publish",
"parent": 0,
"modified": 1718382816,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1367
},
"headData": {
"title": "New dream hampton Documentary Goes Inside ’90s Hip-Hop | KQED",
"description": "dream hampton uses her own never-before-seen footage of rap's golden age to illustrate the labor of women who love the music.",
"ogTitle": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist",
"twDescription": "",
"twImgId": "",
"socialTitle": "New dream hampton Documentary Goes Inside ’90s Hip-Hop %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist",
"datePublished": "2024-06-14T09:33:36-07:00",
"dateModified": "2024-06-14T09:33:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Sidney Madden, NPR",
"nprStoryId": "g-s1-4036",
"nprHtmlLink": "https://www.npr.org/2024/06/12/g-s1-4036/it-was-all-a-dream-documentary-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-12T12:00:50.028-04:00",
"nprStoryDate": "2024-06-12T12:00:50.028-04:00",
"nprLastModifiedDate": "2024-06-12T13:11:49.648-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959796/dream-hampton-documentary-it-was-all-a-dream-90s-hip-hop-home-videost",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13932030",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\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>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13934460",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13927349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\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>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959796/dream-hampton-documentary-it-was-all-a-dream-90s-hip-hop-home-videost",
"authors": [
"byline_arts_13959796"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_13672",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959797",
"label": "arts_140"
},
"arts_13959801": {
"type": "posts",
"id": "arts_13959801",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959801",
"score": null,
"sort": [
1718323793000
]
},
"guestAuthors": [],
"slug": "treasure-movie-review-stephen-fry-lena-dunham",
"title": "‘Treasure’ Could Have Gone Terribly Wrong",
"publishDate": 1718323793,
"format": "standard",
"headTitle": "‘Treasure’ Could Have Gone Terribly Wrong | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Stephen Fry and Lena Dunham visit the Old Country in an adaptation of the novel 'Too Many Men.'",
"status": "publish",
"parent": 0,
"modified": 1718323793,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 978
},
"headData": {
"title": "Film Review: ‘Treasure’ Could Have Gone Terribly Wrong | KQED",
"description": "Stephen Fry and Lena Dunham visit the Old Country in an adaptation of the novel 'Too Many Men.'",
"ogTitle": "Film Review: ‘Treasure’ Could Have Gone Terribly Wrong",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Treasure’ Could Have Gone Terribly Wrong",
"twDescription": "",
"twImgId": "",
"socialTitle": "Film Review: ‘Treasure’ Could Have Gone Terribly Wrong %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Treasure’ Could Have Gone Terribly Wrong",
"datePublished": "2024-06-13T17:09:53-07:00",
"dateModified": "2024-06-13T17:09:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959801",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959801/treasure-movie-review-stephen-fry-lena-dunham",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959801/treasure-movie-review-stephen-fry-lena-dunham",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_9830",
"arts_769"
],
"featImg": "arts_13959835",
"label": "arts_140"
},
"arts_13959712": {
"type": "posts",
"id": "arts_13959712",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959712",
"score": null,
"sort": [
1718308686000
]
},
"guestAuthors": [],
"slug": "a-place-to-call-home-documentary-la-pena-cultural-center-murals",
"title": "A New Film Tells the Story of La Peña Cultural Center Through Murals",
"publishDate": 1718308686,
"format": "standard",
"headTitle": "A New Film Tells the Story of La Peña Cultural Center Through Murals | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\n\u003cp>https://vimeo.com/957245456\u003c/p>\n\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Clara Pérez’s documentary ‘A Place to Call Home’ follows four artists creating a mural for the Berkeley institution.",
"status": "publish",
"parent": 0,
"modified": 1750185766,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 696
},
"headData": {
"title": "In New Film, Story of La Peña Cultural Center Told Through Murals | KQED",
"description": "Clara Pérez’s documentary ‘A Place to Call Home’ follows four artists creating a mural for the Berkeley institution.",
"ogTitle": "A New Film Tells the Story of La Peña Cultural Center Through Murals",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A New Film Tells the Story of La Peña Cultural Center Through Murals",
"twDescription": "",
"twImgId": "",
"socialTitle": "In New Film, Story of La Peña Cultural Center Told Through Murals %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Film Tells the Story of La Peña Cultural Center Through Murals",
"datePublished": "2024-06-13T12:58:06-07:00",
"dateModified": "2025-06-17T11:42:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959712",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959712/a-place-to-call-home-documentary-la-pena-cultural-center-murals",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "957245456"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959712/a-place-to-call-home-documentary-la-pena-cultural-center-murals",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_70"
],
"tags": [
"arts_13672",
"arts_10278",
"arts_977",
"arts_1737",
"arts_585"
],
"featImg": "arts_13959715",
"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": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 480,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3264,
"relation": "eq"
},
"items": [
"arts_13960378",
"arts_13960151",
"arts_13960332",
"arts_13960032",
"arts_13960040",
"arts_13960011",
"arts_13959918",
"arts_13959899",
"arts_13959859",
"arts_13959796",
"arts_13959801",
"arts_13959712"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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_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_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_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_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_13090": {
"type": "terms",
"id": "arts_13090",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13090",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New York City",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New York City Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13102,
"slug": "new-york-city",
"isLoading": false,
"link": "/arts/tag/new-york-city"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_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_7666": {
"type": "terms",
"id": "arts_7666",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7666",
"found": true
},
"relationships": {},
"name": "Frameline",
"slug": "frameline",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Frameline | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 7678,
"isLoading": false,
"link": "/arts/tag/frameline"
},
"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_8291": {
"type": "terms",
"id": "arts_8291",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8291",
"found": true
},
"relationships": {},
"featImg": null,
"name": "subculture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "subculture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8303,
"slug": "subculture",
"isLoading": false,
"link": "/arts/tag/subculture"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"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_9124": {
"type": "terms",
"id": "arts_9124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9124",
"found": true
},
"relationships": {},
"name": "Animals",
"slug": "animals",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Animals | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 9136,
"isLoading": false,
"link": "/arts/tag/animals"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_1900": {
"type": "terms",
"id": "arts_1900",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1900",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pixar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pixar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1912,
"slug": "pixar",
"isLoading": false,
"link": "/arts/tag/pixar"
},
"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_9830": {
"type": "terms",
"id": "arts_9830",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9830",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Holocaust",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Holocaust Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9842,
"slug": "holocaust",
"isLoading": false,
"link": "/arts/tag/holocaust"
},
"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_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_1737": {
"type": "terms",
"id": "arts_1737",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1737",
"found": true
},
"relationships": {},
"featImg": null,
"name": "murals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "murals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1749,
"slug": "murals",
"isLoading": false,
"link": "/arts/tag/murals"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
}
},
"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
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}