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_13937095": {
"type": "attachments",
"id": "arts_13937095",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13937095",
"found": true
},
"parent": 13937049,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1698421316,
"modified": 1698421820,
"caption": "Elisheva Samson, 16, shows off her carabiner of friendship bracelets to trade while waiting in line for merch before seeing “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023.",
"description": null,
"title": "Swifties",
"credit": "Juliana Yamada/KQED",
"status": "inherit",
"altTag": "A persons wrists wear eight different bracelets with letters and bright beads on them. The person also holds a carribeaner with dozens more bracelets.",
"isLoading": false,
"fetchFailed": false
},
"arts_13939006": {
"type": "attachments",
"id": "arts_13939006",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13939006",
"found": true
},
"parent": 13939003,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-160x104.png",
"width": 160,
"mimeType": "image/png",
"height": 104
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM.png",
"width": 2380,
"height": 1542
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-2048x1327.png",
"width": 2048,
"mimeType": "image/png",
"height": 1327
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-1020x661.png",
"width": 1020,
"mimeType": "image/png",
"height": 661
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-1536x995.png",
"width": 1536,
"mimeType": "image/png",
"height": 995
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-1920x1244.png",
"width": 1920,
"mimeType": "image/png",
"height": 1244
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-800x518.png",
"width": 800,
"mimeType": "image/png",
"height": 518
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-06-at-11.09.01-AM-768x498.png",
"width": 768,
"mimeType": "image/png",
"height": 498
}
},
"publishDate": 1701889967,
"modified": 1701890180,
"caption": "A moment from the infamous ‘Star Wars’ holiday special.",
"description": null,
"title": "A moment from the infamous ‘Star Wars’ holiday special.",
"credit": "YouTube",
"status": "inherit",
"altTag": "A fur covered creature sits at a desk and watches two tiny figures in orange costumes dance.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938943": {
"type": "attachments",
"id": "arts_13938943",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938943",
"found": true
},
"parent": 13938942,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM.png",
"width": 1844,
"height": 1218
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-1020x674.png",
"width": 1020,
"mimeType": "image/png",
"height": 674
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-1536x1015.png",
"width": 1536,
"mimeType": "image/png",
"height": 1015
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-800x528.png",
"width": 800,
"mimeType": "image/png",
"height": 528
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Screen-Shot-2023-12-05-at-12.17.04-PM-768x507.png",
"width": 768,
"mimeType": "image/png",
"height": 507
}
},
"publishDate": 1701807544,
"modified": 1701807788,
"caption": "Mahershala Ali, Myha’la Herrold, Julia Roberts and Ethan Hawke in ‘Leave the World Behind.’",
"description": null,
"title": "Mahershala Ali, Myha’la Herrold, Julia Roberts and Ethan Hawke in ‘Leave the World Behind.’",
"credit": "JoJo Whilden/ Netflix",
"status": "inherit",
"altTag": "Inside a house, a middle-aged Black man stands next to a Black teenage girl. Standing slightly before them is a white woman with long brown hair and a white man with greying hair and beard. All are staring in the same direction. All look very concerned.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938883": {
"type": "attachments",
"id": "arts_13938883",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938883",
"found": true
},
"parent": 13938881,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1701743876,
"modified": 1701743950,
"caption": "Barbara Stauffacher Solomon, 'Strips of Stripes' at SFMOMA.",
"description": null,
"title": "Barbara-Stauffacher-Solomon-Stripes-of-Stripes-(SFMOMA-installation-view-4,-2023);-photo-by-Don-Ross_2000",
"credit": "Don Ross",
"status": "inherit",
"altTag": "Red and black stripes painted on white walls and ceilings of lobby space",
"isLoading": false,
"fetchFailed": false
},
"arts_13939926": {
"type": "attachments",
"id": "arts_13939926",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13939926",
"found": true
},
"parent": 13938158,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM.png",
"width": 1804,
"height": 1146
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1020x648.png",
"width": 1020,
"mimeType": "image/png",
"height": 648
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1536x976.png",
"width": 1536,
"mimeType": "image/png",
"height": 976
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-800x508.png",
"width": 800,
"mimeType": "image/png",
"height": 508
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-768x488.png",
"width": 768,
"mimeType": "image/png",
"height": 488
}
},
"publishDate": 1703848567,
"modified": 1706034121,
"caption": "Emma Stone starring as Bella Baxter in ‘Poor Things.’",
"description": null,
"title": "Emma Stone starring as Bella Baxter in ‘Poor Things.’",
"credit": "Searchlight Films",
"status": "inherit",
"altTag": "A pale woman with long black hair stands in side profile before a blue sky.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938915": {
"type": "attachments",
"id": "arts_13938915",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938915",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-036-JY-KQED-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1701796340,
"modified": 1706045725,
"caption": "Director and actress Greta Gerwig poses on the red carpet at the 2023 SFFILM Festival Awards at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday.",
"description": null,
"title": "SFFILM Festival Awards",
"credit": "Juliana Yamada/ KQED",
"status": "inherit",
"altTag": "A person in a blue dress in front of a backdrop with the words \"SFFILM\" written on it.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938622": {
"type": "attachments",
"id": "arts_13938622",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938622",
"found": true
},
"parent": 13938620,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-160x110.png",
"width": 160,
"mimeType": "image/png",
"height": 110
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM.png",
"width": 1566,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-1020x703.png",
"width": 1020,
"mimeType": "image/png",
"height": 703
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-1536x1059.png",
"width": 1536,
"mimeType": "image/png",
"height": 1059
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-800x552.png",
"width": 800,
"mimeType": "image/png",
"height": 552
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-4.43.58-PM-768x530.png",
"width": 768,
"mimeType": "image/png",
"height": 530
}
},
"publishDate": 1701218667,
"modified": 1701218855,
"caption": "Anne Hathaway and Thomasin McKenzie in a scene from ‘Eileen.’",
"description": null,
"title": "Anne Hathaway and Thomasin McKenzie in a scene from ‘Eileen.’",
"credit": "Jeong Park/ Neon via AP",
"status": "inherit",
"altTag": "A blonde woman wearing a 1950s-style wine-red suit dances with her hair tousled over her face next to a younger girl in a black dress. Behind them is an old jukebox and other figures dancing.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938611": {
"type": "attachments",
"id": "arts_13938611",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938611",
"found": true
},
"parent": 13938155,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-1017x576.jpg",
"width": 1017,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg",
"width": 1017,
"height": 652
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 513
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 492
}
},
"publishDate": 1701206489,
"modified": 1701206629,
"caption": "Michael Jackson about to win 12 Grammys for 'Thriller' at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered 'super-duper-duper sexy.'",
"description": null,
"title": "GettyImages-88696481-1020x847",
"credit": "Ron Galella/ Ron Galella Collection via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13938592": {
"type": "attachments",
"id": "arts_13938592",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938592",
"found": true
},
"parent": 13938585,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-160x99.png",
"width": 160,
"mimeType": "image/png",
"height": 99
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit.png",
"width": 1960,
"height": 1218
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-1020x634.png",
"width": 1020,
"mimeType": "image/png",
"height": 634
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-1536x955.png",
"width": 1536,
"mimeType": "image/png",
"height": 955
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-1920x1193.png",
"width": 1920,
"mimeType": "image/png",
"height": 1193
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-800x497.png",
"width": 800,
"mimeType": "image/png",
"height": 497
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/milit-768x477.png",
"width": 768,
"mimeType": "image/png",
"height": 477
}
},
"publishDate": 1701200305,
"modified": 1701200392,
"caption": "Captain Saleha Jabeen in a moment from ‘Three Chaplains.’",
"description": null,
"title": "Captain Saleha Jabeen in a moment from ‘Three Chaplains.’",
"credit": "Terrace Films",
"status": "inherit",
"altTag": "A woman of color wearing a white hijab and blue denim jacket lines up next to men and women wearing military uniforms.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938422": {
"type": "attachments",
"id": "arts_13938422",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938422",
"found": true
},
"parent": 13938421,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-160x121.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 121
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217.jpg",
"width": 1920,
"height": 1451
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-2048x1548.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1548
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-1020x771.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 771
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-1536x1161.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1161
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-1920x1451.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1451
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-800x605.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 605
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/rn7jh5_custom-21dd4a34a900f827dd1abd36f0e0a57c6515030c-scaled-e1700681914217-768x580.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 580
}
},
"publishDate": 1700680896,
"modified": 1700682066,
"caption": "The Peanuts gang celebrates Thanksgiving, but why is Franklin by himself on one side of the table?",
"description": null,
"title": "The Peanuts gang celebrates Thanksgiving, but why is Franklin by himself on one side of the table?",
"credit": "Allstar Picture Library Limited/ Alamy",
"status": "inherit",
"altTag": "A scene from animated film 'A Charlie Brown Thanksgiving' featuring a group of white children sitting at the ends and on one side of a dinner table. A Black child is sitting alone on the opposite side of the table.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938361": {
"type": "attachments",
"id": "arts_13938361",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938361",
"found": true
},
"parent": 13938358,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM.png",
"width": 1606,
"height": 1060
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-1020x673.png",
"width": 1020,
"mimeType": "image/png",
"height": 673
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-1536x1014.png",
"width": 1536,
"mimeType": "image/png",
"height": 1014
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-800x528.png",
"width": 800,
"mimeType": "image/png",
"height": 528
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-21-at-11.26.28-AM-768x507.png",
"width": 768,
"mimeType": "image/png",
"height": 507
}
},
"publishDate": 1700594816,
"modified": 1700594949,
"caption": "Scene of an aftermath in ‘Saltburn.’",
"description": null,
"title": "Scene of an aftermath in ‘Saltburn.’",
"credit": "Amazon Prime Video via AP",
"status": "inherit",
"altTag": "A man with muscular shoulder exposed from a robe stands at a grand railing and overlooks a huge garden. It is strewn with detritus and trash from some kind of wild party.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938339": {
"type": "attachments",
"id": "arts_13938339",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938339",
"found": true
},
"parent": 13938332,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER.jpg",
"width": 2000,
"height": 1500
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220707_09977r_COVER-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1700527666,
"modified": 1700527752,
"caption": "Director, writer, producer and star Bradley Cooper as Leonard Bernstein in ‘Maestro.’",
"description": null,
"title": "Maestro_20220707_09977r_COVER",
"credit": "Jason McDonald/Netflix",
"status": "inherit",
"altTag": "black and white image of a conductor seen from several rows back in orchestra, over music stands",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13939003": {
"type": "authors",
"id": "byline_arts_13939003",
"meta": {
"override": true
},
"slug": "byline_arts_13939003",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13938942": {
"type": "authors",
"id": "byline_arts_13938942",
"meta": {
"override": true
},
"slug": "byline_arts_13938942",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13938620": {
"type": "authors",
"id": "byline_arts_13938620",
"meta": {
"override": true
},
"slug": "byline_arts_13938620",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13938585": {
"type": "authors",
"id": "byline_arts_13938585",
"meta": {
"override": true
},
"slug": "byline_arts_13938585",
"name": "Mariam Fam, Associated Press",
"isLoading": false
},
"byline_arts_13938421": {
"type": "authors",
"id": "byline_arts_13938421",
"meta": {
"override": true
},
"slug": "byline_arts_13938421",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13938358": {
"type": "authors",
"id": "byline_arts_13938358",
"meta": {
"override": true
},
"slug": "byline_arts_13938358",
"name": "Jocelyn Noveck, Associated Press",
"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"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ltsai": {
"type": "authors",
"id": "11743",
"meta": {
"index": "authors_1716337520",
"id": "11743",
"found": true
},
"name": "Luke Tsai",
"firstName": "Luke",
"lastName": "Tsai",
"slug": "ltsai",
"email": "ltsai@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Food Editor",
"bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.",
"avatar": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twitter": "theluketsai",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Luke Tsai | KQED",
"description": "Food Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ltsai"
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
},
"omayeda": {
"type": "authors",
"id": "11872",
"meta": {
"index": "authors_1716337520",
"id": "11872",
"found": true
},
"name": "Olivia Cruz Mayeda",
"firstName": "Olivia Cruz",
"lastName": "Mayeda",
"slug": "omayeda",
"email": "omayeda@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Reporter",
"bio": "Olivia Cruz Mayeda is a journalist covering style, culture and reparations in the Bay Area, a place that has been home to her family for over 100 years. Her writing has also appeared in the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>El Tecolote\u003c/em>.",
"avatar": "https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Olivia Cruz Mayeda | KQED",
"description": "Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/omayeda"
},
"udursun": {
"type": "authors",
"id": "11883",
"meta": {
"index": "authors_1716337520",
"id": "11883",
"found": true
},
"name": "Ugur Dursun",
"firstName": "Ugur",
"lastName": "Dursun",
"slug": "udursun",
"email": "udursun@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Engagement Producer, KQED Arts & Culture",
"bio": "Ugur Dursun is a reporter and audience engagement producer for KQED Arts. Previously, her reporting has appeared on SFGate, East Bay Times, The Mercury News, KTVU, NBC Bay Area, The Stanford Daily, and other Bay Area local news outlets. In 2023, she was a recipient of Online News Association's \u003ca href=\"https://journalists.org/programs/mj-bear-fellowship/\">MJ Bear Fellowship\u003c/a>, which honors six standout journalists under the age of 30 who are pushing innovation in digital news.",
"avatar": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Ugur Dursun | KQED",
"description": "Engagement Producer, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/udursun"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557161
},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"title": "Movies",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 51
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 51
}
},
{
"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_13939092": {
"type": "posts",
"id": "arts_13939092",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13939092",
"score": null,
"sort": [
1702057187000
]
},
"guestAuthors": [],
"slug": "bay-area-trends-of-2023",
"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023",
"publishDate": 1702057187,
"format": "standard",
"headTitle": "The Bay Area’s Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Movies! Pants! Barbie! The Internet! Whatever everyone thinks is happening to San Francisco! The KQED Arts & Culture team weighs in on the year. ",
"status": "publish",
"parent": 0,
"modified": 1726757445,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 2763
},
"headData": {
"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
"description": "Movies! Pants! Barbie! The Internet! Whatever everyone thinks is happening to San Francisco! The KQED Arts & Culture team weighs in on the year. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023",
"datePublished": "2023-12-08T09:39:47-08:00",
"dateModified": "2024-09-19T07:50:45-07:00",
"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/13939092/bay-area-trends-of-2023",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\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>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13939092/bay-area-trends-of-2023",
"authors": [
"11242",
"11748",
"11883",
"61",
"11872",
"185",
"7237",
"11743",
"11387"
],
"categories": [
"arts_1",
"arts_73",
"arts_2303",
"arts_76",
"arts_74",
"arts_69",
"arts_75",
"arts_13238",
"arts_990",
"arts_70"
],
"tags": [
"arts_11374",
"arts_6425",
"arts_21777",
"arts_10342",
"arts_10278",
"arts_5544",
"arts_1551",
"arts_2137",
"arts_3026",
"arts_1553"
],
"featImg": "arts_13937095",
"label": "arts"
},
"arts_13939003": {
"type": "posts",
"id": "arts_13939003",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13939003",
"score": null,
"sort": [
1701891315000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701891315,
"format": "standard",
"title": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?",
"headTitle": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why? | KQED",
"content": "\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BtkpVWeWN-Q\u003c/p>\n\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>[aside postid='arts_13920462']Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 515,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705003012,
"excerpt": "‘A Disturbance in the Force’ reviews how one of the strangest (and worst) variety shows in history got made.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "‘A Disturbance in the Force’ reviews how one of the strangest (and worst) variety shows in history got made.",
"title": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?",
"datePublished": "2023-12-06T11:35:15-08:00",
"dateModified": "2024-01-11T11:56:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "star-wars-holiday-special-disturbance-in-the-force-review-documentary",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1217487098&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 06 Dec 2023 05:00:44 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 06 Dec 2023 05:00:44 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/12/06/1217487098/a-new-documentary-examines-the-star-wars-holiday-special-and-asks-why?ft=nprml&f=1217487098",
"nprStoryId": "1217487098",
"nprByline": "Linda Holmes",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Dec 2023 05:00:00 -0500",
"path": "/arts/13939003/star-wars-holiday-special-disturbance-in-the-force-review-documentary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889379",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\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>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\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/BtkpVWeWN-Q'\n title='//www.youtube.com/embed/BtkpVWeWN-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920462",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13939003/star-wars-holiday-special-disturbance-in-the-force-review-documentary",
"authors": [
"byline_arts_13939003"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_13672",
"arts_3797",
"arts_3241",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13939006",
"label": "arts_140"
},
"arts_13938942": {
"type": "posts",
"id": "arts_13938942",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938942",
"score": null,
"sort": [
1701809665000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701809665,
"format": "standard",
"title": "‘Leave the World Behind’ Is a Terrific Blend of Thriller, Disaster and Satire",
"headTitle": "‘Leave the World Behind’ Is a Terrific Blend of Thriller, Disaster and Satire | KQED",
"content": "\u003cp>Imagine that it’s close to midnight and there’s a knock at the door of your luxurious weekend rental home. A man is standing there, calmly apologizing. He says it’s his home and that he and his daughter need your help. He’s also dressed immaculately in a tux.\u003c/p>\n\u003cp>What would you do?\u003c/p>\n\u003cp>[aside postid='arts_13938143']Did the tux make a difference? Would the man’s race?\u003c/p>\n\u003cp>That early scene is when Netflix’s \u003cem>Leave the World Behind\u003c/em> really kicks into gear and never slackens as this terrific, apocalyptic, psychological thriller races to its conclusion, exploring race, affluence and responsibility along the way.\u003c/p>\n\u003cp>The luxurious home becomes a castle of sorts as the outside world crumbles. The man who says he’s the owner tries to explain why he’s turned up. “Under the circumstances, we thought you’d understand,” he says. But understanding is in short supply here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adapted from Rumaan Alam’s acclaimed novel, the movie is set against an end-of-days disaster in which technology — Wi-Fi, TV, phones, internet — has gone silent due to a cyberattack and there’s been a massive blackout.\u003c/p>\n\u003cp>Well-to-do Amanda (a tart Julia Roberts) and her \u003cem>Atlantic\u003c/em> magazine-quoting husband Clay (a hangdog Ethan Hawke) must work with the even-more-well-off G.H. (a calmly sophisticated Mahershala Ali) and his savvy daughter Ruth, (a superb Myha’la). The racial divide easily swamps their joint class affiliation.\u003c/p>\n\u003cp>Also along for the disaster are Amanda and Clay’s children, a \u003cem>Friends\u003c/em>-obsessed daughter (a soulful Farrah Mackenzie, who even wears her hair in a “Rachel” ‘do) and her older, slightly bratty 16-year-old brother (a brooding Charlie Evans).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cMVBi_e8o-Y\u003c/p>\n\u003cp>It’s a story brilliantly adapted and directed by Sam Esmail, showrunner of \u003cem>Mr. Robot\u003c/em>, who has made \u003cem>Leave the World Behind\u003c/em> into a homage of Alfred Hitchcock, complete with the image of a man trying to outrun a crashing plane and using the master’s discordant loud music. Esmail, who manages to make a group of deer appear sinister, even makes a Hitchcockian cameo as a corpse on a beach.\u003c/p>\n\u003cp>The director paces the deepening dread flawlessly and there are visual delights throughout, like when the family starts off on their adventure with their car exiting at “Point Comfort.” The camera often swirls and soars through glass cracks or holes in roofs like an uneasy bird, or parks itself at strange angles.\u003c/p>\n\u003cp>[aside postid='arts_13938158']The mysterious catastrophe — ships beach themselves, driverless cars crash like lemmings — sloughs away any pretense at civility, leaving the adults and children to turn on each other. Amanda, in particular, reveals a dark side and her husband — before the disaster, a can’t-we-all-get-along bro — abandons a hysterical survivor by the side of the road. Community is shattered, guns come out and protect-at-all-costs is the motto of the day.\u003c/p>\n\u003cp>The acting is first rate and it needs to be — this is a drama of manners and secrets, and each sigh or glance reveals so much. We haven’t seen a nasty Roberts character in a while and Ali balances sophistication and slyness artfully. Together, they have some of the film’s best scenes.\u003c/p>\n\u003cp>But a warning of sorts: It’s best to click play on your remote knowing that the movie is more a satire than a true action-survival movie — the open-ended ending may divide viewers. Click anyway because the journey never drags. And don’t be surprised if there’s a jump in sales of survival tools this holiday season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Leave the World Behind’ begins streaming on Netflix on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 658,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705003017,
"excerpt": "Community is shattered, guns come out and protect-at-all-costs is the motto of the day in Sam Esmail’s Hitchcockian thriller.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "Review: ‘Leave the World Behind’ Is a Brilliant Hitchcockian Thriller %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Community is shattered, guns come out and protect-at-all-costs is the motto of the day in Sam Esmail’s Hitchcockian thriller.",
"title": "Review: ‘Leave the World Behind’ Is a Brilliant Hitchcockian Thriller | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Leave the World Behind’ Is a Terrific Blend of Thriller, Disaster and Satire",
"datePublished": "2023-12-05T12:54:25-08:00",
"dateModified": "2024-01-11T11:56:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "leave-the-world-behind-sam-esmail-thriller-disaster-satire-julia-roberts",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13938942/leave-the-world-behind-sam-esmail-thriller-disaster-satire-julia-roberts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine that it’s close to midnight and there’s a knock at the door of your luxurious weekend rental home. A man is standing there, calmly apologizing. He says it’s his home and that he and his daughter need your help. He’s also dressed immaculately in a tux.\u003c/p>\n\u003cp>What would you do?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938143",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Did the tux make a difference? Would the man’s race?\u003c/p>\n\u003cp>That early scene is when Netflix’s \u003cem>Leave the World Behind\u003c/em> really kicks into gear and never slackens as this terrific, apocalyptic, psychological thriller races to its conclusion, exploring race, affluence and responsibility along the way.\u003c/p>\n\u003cp>The luxurious home becomes a castle of sorts as the outside world crumbles. The man who says he’s the owner tries to explain why he’s turned up. “Under the circumstances, we thought you’d understand,” he says. But understanding is in short supply here.\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>Adapted from Rumaan Alam’s acclaimed novel, the movie is set against an end-of-days disaster in which technology — Wi-Fi, TV, phones, internet — has gone silent due to a cyberattack and there’s been a massive blackout.\u003c/p>\n\u003cp>Well-to-do Amanda (a tart Julia Roberts) and her \u003cem>Atlantic\u003c/em> magazine-quoting husband Clay (a hangdog Ethan Hawke) must work with the even-more-well-off G.H. (a calmly sophisticated Mahershala Ali) and his savvy daughter Ruth, (a superb Myha’la). The racial divide easily swamps their joint class affiliation.\u003c/p>\n\u003cp>Also along for the disaster are Amanda and Clay’s children, a \u003cem>Friends\u003c/em>-obsessed daughter (a soulful Farrah Mackenzie, who even wears her hair in a “Rachel” ‘do) and her older, slightly bratty 16-year-old brother (a brooding Charlie Evans).\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/cMVBi_e8o-Y'\n title='//www.youtube.com/embed/cMVBi_e8o-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a story brilliantly adapted and directed by Sam Esmail, showrunner of \u003cem>Mr. Robot\u003c/em>, who has made \u003cem>Leave the World Behind\u003c/em> into a homage of Alfred Hitchcock, complete with the image of a man trying to outrun a crashing plane and using the master’s discordant loud music. Esmail, who manages to make a group of deer appear sinister, even makes a Hitchcockian cameo as a corpse on a beach.\u003c/p>\n\u003cp>The director paces the deepening dread flawlessly and there are visual delights throughout, like when the family starts off on their adventure with their car exiting at “Point Comfort.” The camera often swirls and soars through glass cracks or holes in roofs like an uneasy bird, or parks itself at strange angles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938158",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The mysterious catastrophe — ships beach themselves, driverless cars crash like lemmings — sloughs away any pretense at civility, leaving the adults and children to turn on each other. Amanda, in particular, reveals a dark side and her husband — before the disaster, a can’t-we-all-get-along bro — abandons a hysterical survivor by the side of the road. Community is shattered, guns come out and protect-at-all-costs is the motto of the day.\u003c/p>\n\u003cp>The acting is first rate and it needs to be — this is a drama of manners and secrets, and each sigh or glance reveals so much. We haven’t seen a nasty Roberts character in a while and Ali balances sophistication and slyness artfully. Together, they have some of the film’s best scenes.\u003c/p>\n\u003cp>But a warning of sorts: It’s best to click play on your remote knowing that the movie is more a satire than a true action-survival movie — the open-ended ending may divide viewers. Click anyway because the journey never drags. And don’t be surprised if there’s a jump in sales of survival tools this holiday season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Leave the World Behind’ begins streaming on Netflix on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938942/leave-the-world-behind-sam-esmail-thriller-disaster-satire-julia-roberts",
"authors": [
"byline_arts_13938942"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_3324",
"arts_585"
],
"featImg": "arts_13938943",
"label": "arts_140"
},
"arts_13938881": {
"type": "posts",
"id": "arts_13938881",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938881",
"score": null,
"sort": [
1701802968000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1701802968,
"format": "aside",
"title": "The Best Art I Saw in 2023",
"headTitle": "The Best Art I Saw in 2023 | KQED",
"content": "\u003cp>It’s that time again — time for a hyper-specific superlative-laden list of the best art experiences I had this year but didn’t get a chance to write about. Looking back at 2023, some throughlines emerged: \u003ca href=\"https://www.kqed.org/arts/13927982/sonya-rapoport-force-fields-casemore-gallery-review\">revisited histories\u003c/a>; revels in \u003ca href=\"https://www.kqed.org/arts/13937370/tana-quincy-arcega-spirit-of-scrappiness-re-riddle\">texture\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13924934/amalia-mesa-bains-archaeology-of-memory-bampfa-review\">sparkle\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13931594/32-sounds-sam-green-documentary-live-film\">experiments in form\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">small moments stretched\u003c/a> through contemplation. Here’s hoping for more of all of the above (and more art, period) in 2024.\u003c/p>\n\u003cfigure id=\"attachment_13938882\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg\" alt=\"Gallery view of earthen rectangular pedestal covered in small glass and metal cast objects \" width=\"2048\" height=\"1745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1020x869.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-768x654.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1536x1309.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1920x1636.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Kelly Akashi: Formations’ at the San José Museum of Art. \u003ccite>(Benjamin Blackwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Materially Exciting Installation\u003c/h2>\n\u003cp>\u003ci>\u003cb>Kelly Akashi, ‘\u003ca href=\"https://sjmusart.org/exhibition/kelly-akashi-formations\">Formations\u003c/a>’\u003c/b>\u003cbr>\nSan José Museum of Art\u003cbr>\nSept. 3, 2022–May 21, 2023\u003c/i>\u003c/p>\n\u003cp>In this quietly evocative solo show, the artist’s hand was — quite literally — always present, in the form of cast bronze, stainless steel and lead crystal. Akashi’s hands rested on rammed-earth pedestals, hung from thick rope, held glass flowers and actual onions. Throughout \u003ci>Formations\u003c/i>, she elegantly combined these examples of her superb craftsmanship with other modes of measuring both geologic and human time. Among these were photographs, castings and samples of “witnesses” (rocks, trees and earth) to the lives of Japanese Americans — including Akashi’s father — once incarcerated at the Poston War Relocation Center in Arizona.\u003c/p>\n\u003cp>https://youtu.be/bSb585bGYmQ\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Most Instructive Documentary\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://howtoblowupapipeline.film/\">How to Blow Up a Pipeline\u003c/a>’\u003cb>\u003c/b>\u003c/b>\u003c/i>\u003c/p>\n\u003cp>If we’ve entered an era of how-to films for the sake of averting climate disaster, I am here for it. In the vein of this year’s orca uprising, \u003ci>How to Blow Up a Pipeline\u003c/i>, based on \u003ca href=\"https://www.versobooks.com/products/2649-how-to-blow-up-a-pipeline\">Andreas Malm’s 2021 nonfiction book\u003c/a> of the same title, persuasively presents sabotage as the next step in climate activism. Written collaboratively by director Daniel Goldhaber, Jordan Sjol and Ariela Barer (who also stars), the film is a thrilling heist-like narrative about a group of resourceful and determined young people targeting an oil pipeline in West Texas. The “why,” here, is not an imagined future but a clearly evident present of extreme, horrifically deadly weather. The message and the performances are utterly compelling.\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938883\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Lobby Art\u003c/h2>\n\u003cp>\u003ci>\u003cb>Barbara Stauffacher Solomon, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">Strips of Stripes\u003c/a>’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSept. 16, 2023–Ongoing\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13839094']It’s been five years since Barbara Stauffacher Solomon graced the Berkeley Art Museum and Pacific Film Archive’s entryway with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">Land(e)scape 2018\u003c/a>\u003c/i>, her stripey, pointy response to both the architecture and the political moment. At SFMOMA, the nearly 95-year-old has been given an even larger canvas and access to adjoining planes. Walls, ceilings, elevator doors and columns flatten and morph under the application of her striking black and red stripes. As the supergraphics wrapping around SFMOMA’s lobby assert — it’s Bobbie’s world, we’re just lucky enough to live in it.\u003c/p>\n\u003cfigure id=\"attachment_13933753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg\" alt=\"A crowd outside of a tile-roofed storefront on a sunny day\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd outside Personal Space during the opening of ‘Salad Days.’ \u003ccite>(Amy Owen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Reasons for Art Optimism\u003c/h2>\n\u003cp>The Bay Area lost some great art spaces this year (most notably, \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">Ratio 3\u003c/a> and McEvoy Foundation for the Arts), but we’ve also had a minor explosion of artist-run spaces and expansions. Lindsay Albert and Ivana Colendich created \u003ca href=\"https://staircase.place/\">staircase\u003c/a> in January (its name tells you everything you need to know about this gallery’s invigorating layout). Cole Solinger and Nicolas Torres opened \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a>, while \u003ca href=\"https://etaletc.com/#/\">Et al.\u003c/a>’s Mission Street outpost expanded their footprint to take over Ratio 3’s former space. In June, Lisa Rybovich Crallé launched Vallejo’s \u003ca href=\"https://www.kqed.org/arts/13933701/personal-space-vallejo-gallery\">Personal Space\u003c/a> to cheerful crowds. And Et al. rented their former Mission gallery to Nico Colón, who opened \u003ca href=\"https://climatecontrolsf.org/\">Climate Control\u003c/a> in September.\u003c/p>\n\u003cp>[aside postID='arts_13933701']Just last month, Steuart Pittman and Savannah Rusher held the inaugural show (of sign painters!) at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a> in Oakland, while Facundo Argañaraz housed his previously itinerant project \u003ca href=\"https://www.1599fdt.com/\">1599fdT\u003c/a> in the old Union Cleaners in San Francisco’s Chinatown (another Et al. sublet, for those keeping track). And within the space of the year, \u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a> opened and closed after Theadora Walsh and Gabriel Garza held down the fort for \u003ca href=\"https://www.cushionworks.info/\">Cushion Works\u003c/a>’ Jordan Stein — a reminder that not everything marvelous and influential needs to last forever.\u003c/p>\n\u003cp>https://youtu.be/ZAkiyaKSF5A?feature=shared\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Most Excellent Object\u003c/h2>\n\u003cp>\u003ci>\u003cb>Dawn Cerny, ‘\u003ca href=\"https://www.riteeditions.com/editions/62b279e38826374174ab5ba9\">Tabletop Sculptures\u003c/a>’\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Where do you put your keys? How about coupons? Rubber bands? If your home is anything like mine, there exist any number of errant yet important things that \u003ci>must\u003c/i> remain in sight at all times. My own solutions are multi-prong and imperfect: hook, jar, desk stack, fridge. But what if there was an object — a strange and colorful object — that could somehow hold \u003ci>all the things?\u003c/i> Enter \u003ca href=\"https://www.dawncerny.com/\">Dawn Cerny\u003c/a>’s \u003ci>Tabletop Sculptures\u003c/i>, published this year by \u003ca href=\"https://www.riteeditions.com/\">RITE Editions\u003c/a>. These customizable wooden stands come with felt pads, glass cups, clips, pencils and pegs, offering absurdist organization for the necessary detritus of human life.\u003c/p>\n\u003cfigure id=\"attachment_13938884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/SkateModernism_2000.jpg\" alt=\"Group of people circled around man in baseball cap, buildings surround them in plaza\" width=\"2000\" height=\"1506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1536x1157.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1920x1446.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ted Barrow begins the walking tour ‘Skate Modernism’ in St. Mary’s Square, San Francisco. \u003ccite>(Barrett Reiter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sickest Skate Tour\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://www.docomomo-noca.org/events/skatemodernism-walkingtour\">Skate Modernism: The California Street Corridor\u003c/a>’\u003c/b>\u003cbr>\nOct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13931352']Led by art and skate-historian Ted Barrow (host of \u003ci>Thrasher\u003c/i>’s “\u003ca href=\"https://www.youtube.com/playlist?list=PL7V-xVyJYY3fCEf5hj0520eKBEplyy6jZ\">This Old Ledge\u003c/a>”), this walking tour organized by Docomomo Northern California sauntered down eight blocks of California Street, demonstrating the entwined history of some of San Francisco’s most preeminent architecture with an activity those architects likely never foresaw or never endorsed. As the very first issue of \u003ci>Thrasher\u003c/i> proclaimed, “skate architecture is everywhere, grind every edge — you’ve gotta find all the lines you can.” From \u003ca href=\"https://findskatespots.com/spots/sf-ca/california-street-black-rock\">Black Rock\u003c/a> (Masayuki Nagare’s black granite \u003ci>Transcendence\u003c/i> at 555 California St.) to Embarcadero Plaza, Barrow engagingly pointed out the design details of a mostly corporate, mostly private environment that skaters, more than any other city dwellers, have challenged and reinvented.\u003c/p>\n\u003cfigure id=\"attachment_13938885\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BenignNeglect1.jpeg\" alt=\"Three rows of framed photographs of bonsai on white wall\" width=\"2000\" height=\"1498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1536x1150.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1920x1438.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Takeshi Moro’s ‘Benign Neglect’ at the Military Intelligence Service Historic Learning Center in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Impactful Show I Almost Missed\u003c/h2>\n\u003cp>\u003ci>\u003cb>Takeshi Moro, ‘\u003ca href=\"https://takeshimoro.com/benign-neglect-historical-japanese-american-bonsai-2/\">Benign Neglect\u003c/a>’\u003c/b>\u003cbr>\nMilitary Intelligence Service Historic Learning Center, San Francisco\u003cbr>\nSept. 16–Oct. 22, 2023\u003c/i>\u003c/p>\n\u003cp>Laid out in a tight grid along two walls, this was a spare presentation of 60 seemingly unremarkable bonsai. The “portraits” represent just a fraction of Dennis Makishima’s historic bonsai collection, captured together for the last time before they went to public auction in 2021. Makishima, a renowned aesthetic pruner who taught bonsai workshops around the world, inherited his collection from Japanese Americans who mostly grew the plants from seed post-WWII. \u003c/p>\n\u003cp>These bonsai didn’t always receive the kind of attention Makishima would later devote to them, and for that reason he considered them examples of “benign neglect” — evidence of their owners rebuilding their lives after incarceration. While the bonsai weren’t perfect, or even aesthetically “correct” in Makishima’s view, an accompanying handout captured his many feelings about, frustrations with and plans for each plant. Unique yet emblematic, these living markers of history told an eloquent story of a very human need to nurture and grow.\u003c/p>\n\u003cfigure id=\"attachment_13938886\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg\" alt=\"Fractured and multicolored tile pieces on light gray walls, in foreground a sculpture made of white gridded material with a ceramic piece on top\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jim Melchert (on walls) and Tracy Ren (on floor) in ‘Still, The Meandering Path’ at Gallery 16. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Posthumous Retrospective\u003c/h2>\n\u003cp>\u003ci>\u003cb>Jim Melchert, ‘\u003ca href=\"https://gallery16.com/exhibitions/still-the-meandering-path\">Still, The Meandering Path\u003c/a>’\u003c/b>\u003cbr>\nGallery 16, San Francisco\u003cbr>\nJuly 28–Sept. 7, 2023\u003c/i>\u003c/p>\n\u003cp>We lost a giant of the Bay Area art scene this year. \u003ca href=\"https://jimmelchert.com/\">Jim Melchert\u003c/a>, known for his fractured and colorfully glazed abstract ceramic pieces, was a beloved educator and mentor — and not only to the artists in his UC Berkeley classes. I regret that I only spoke with him once in passing, but it was enough time to experience his legendary warmth and kindness. This Gallery 16 show brought together Melchert’s last works, including \u003ci>Jim’s Final Tile\u003c/i>, a snaking river of buoyant color against a neutral tan background, with work by 14 contemporary ceramics artists as “a testament to his enduring influence and living legacy.” Melchert’s material experimentations, his use of both chance and rule-making, and his commitment to form echoed throughout the work of artists like Erik Scollon, Liz Hernández, Nathan Lynch and Gay Outlaw. It was a fitting, beautiful farewell.\u003c/p>\n\u003cfigure id=\"attachment_13938930\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg\" alt=\"Three large rainbow-hued abstract paintings in white-walled gallery space\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13938930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Rema Ghuloum’s ‘4 is a Rainbow Line’ at Et al.’s former Mission Street space. \u003ccite>(Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Transcendent Solo Show\u003c/h2>\n\u003cp>\u003ci>\u003cb>Rema Ghuloum, ‘\u003ca href=\"https://etaletc.com/rema-ghuloum\">4 is a Rainbow Line\u003c/a>’\u003c/b>\u003cbr>\nEt al., 2831 Mission St., San Francisco\u003cbr>\nMarch 4–April 8, 2023\u003c/i>\u003c/p>\n\u003cp>Stepping into a room of \u003ca href=\"http://www.remaghuloum.com/\">Rema Ghuloum\u003c/a>’s large-scale paintings is like entering a prism. Rainbow shades spread luminously across her canvases, emanating out from central tangles to create otherworldly portals. In \u003ci>4 is a Rainbow Line\u003c/i>, the paintings’ scale (some nearly seven feet tall) made standing before them akin to worship — you could look up, down, all over, but you can never really get a sense of the whole. Like \u003ca href=\"https://www.artic.edu/articles/969/la-grande-jatte-frame-by-frame\">Seurat\u003c/a>, Ghuloum uses a framing technique to create perceptual shifts along the edges of her paintings, encasing her canvas in thin strips of contrasting tones or dots of color. Looking elicited only pure awe and delight. Photography, of course, utterly failed me here.\u003c/p>\n\u003cp>https://youtu.be/YD5pYQiT1D4?feature=shared\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Best Reminder of a Revolutionary Spirit\u003c/h2>\n\u003cp>\u003cb>\u003ci>‘\u003ca href=\"https://www.hbo.com/movies/all-the-beauty-and-the-bloodshed\">All the Beauty and All the Bloodshed\u003c/a>’\u003c/i>\u003c/b>\u003c/p>\n\u003cp>(This 2022 documentary by Laura Poitras sneaks onto the list because I caught it at the Roxie this year.) Photographer and activist Nan Goldin has lived a life marked by tragedy, recovery and defiance. While this film does its expected job of charting the chronology of Goldin’s life and the development of her frank, arresting photos, those details are interspersed with her contemporary fight, in her 60s, against the Sackler family. In 2017, Goldin founded \u003ca href=\"https://www.sacklerpain.org/\">P.A.I.N.\u003c/a> (Prescription Addiction Intervention Now) as result of her own Oxycontin addiction and near-fatal overdose of fentanyl. \u003ci>All the Beauty\u003c/i> tenderly shows how Goldin’s experiences prepared her for both sides of this work: staging aesthetically dramatic protests in Sackler-funded art spaces and connecting intimately with those left behind in the wreckage of addiction.\u003c/p>\n\u003cfigure id=\"attachment_13938926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg\" alt='White tote bag with \"I survived the SF doom spiral\" in black lettering' width=\"1920\" height=\"2560\" class=\"size-full wp-image-13938926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Tucker Nichols’ A+ tote for Park Life. \u003ccite>(Courtesy the artist and Park Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Most Fitting Commemorative Merch of 2023\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://parklifestore-webstore.com/products/doom-loop-tote-by-tucker-nichols\">A tote bag by Tucker Nichols\u003c/a>\u003c/b>\u003cbr>\nAvailable at Park Life, 220 Clement St., San Francisco\u003c/i>\u003c/p>\n\u003cp>We made it to the end of another year. As per usual, \u003ca href=\"https://www.tuckernichols.com/\">Tucker Nichols\u003c/a> knows exactly what to say.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1840,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1705003018,
"excerpt": "In a year of negative narratives, there was plenty of beauty, righteous rage and reasons for optimism.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In a year of negative narratives, there was plenty of beauty, righteous rage and reasons for optimism.",
"title": "The Best Art I Saw in 2023 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Best Art I Saw in 2023",
"datePublished": "2023-12-05T11:02:48-08:00",
"dateModified": "2024-01-11T11:56:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-best-art-i-saw-in-2023",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938881/the-best-art-i-saw-in-2023",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time again — time for a hyper-specific superlative-laden list of the best art experiences I had this year but didn’t get a chance to write about. Looking back at 2023, some throughlines emerged: \u003ca href=\"https://www.kqed.org/arts/13927982/sonya-rapoport-force-fields-casemore-gallery-review\">revisited histories\u003c/a>; revels in \u003ca href=\"https://www.kqed.org/arts/13937370/tana-quincy-arcega-spirit-of-scrappiness-re-riddle\">texture\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13924934/amalia-mesa-bains-archaeology-of-memory-bampfa-review\">sparkle\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13931594/32-sounds-sam-green-documentary-live-film\">experiments in form\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">small moments stretched\u003c/a> through contemplation. Here’s hoping for more of all of the above (and more art, period) in 2024.\u003c/p>\n\u003cfigure id=\"attachment_13938882\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg\" alt=\"Gallery view of earthen rectangular pedestal covered in small glass and metal cast objects \" width=\"2048\" height=\"1745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1020x869.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-768x654.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1536x1309.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1920x1636.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Kelly Akashi: Formations’ at the San José Museum of Art. \u003ccite>(Benjamin Blackwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Materially Exciting Installation\u003c/h2>\n\u003cp>\u003ci>\u003cb>Kelly Akashi, ‘\u003ca href=\"https://sjmusart.org/exhibition/kelly-akashi-formations\">Formations\u003c/a>’\u003c/b>\u003cbr>\nSan José Museum of Art\u003cbr>\nSept. 3, 2022–May 21, 2023\u003c/i>\u003c/p>\n\u003cp>In this quietly evocative solo show, the artist’s hand was — quite literally — always present, in the form of cast bronze, stainless steel and lead crystal. Akashi’s hands rested on rammed-earth pedestals, hung from thick rope, held glass flowers and actual onions. Throughout \u003ci>Formations\u003c/i>, she elegantly combined these examples of her superb craftsmanship with other modes of measuring both geologic and human time. Among these were photographs, castings and samples of “witnesses” (rocks, trees and earth) to the lives of Japanese Americans — including Akashi’s father — once incarcerated at the Poston War Relocation Center in Arizona.\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/bSb585bGYmQ'\n title='//www.youtube.com/embed/bSb585bGYmQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Most Instructive Documentary\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://howtoblowupapipeline.film/\">How to Blow Up a Pipeline\u003c/a>’\u003cb>\u003c/b>\u003c/b>\u003c/i>\u003c/p>\n\u003cp>If we’ve entered an era of how-to films for the sake of averting climate disaster, I am here for it. In the vein of this year’s orca uprising, \u003ci>How to Blow Up a Pipeline\u003c/i>, based on \u003ca href=\"https://www.versobooks.com/products/2649-how-to-blow-up-a-pipeline\">Andreas Malm’s 2021 nonfiction book\u003c/a> of the same title, persuasively presents sabotage as the next step in climate activism. Written collaboratively by director Daniel Goldhaber, Jordan Sjol and Ariela Barer (who also stars), the film is a thrilling heist-like narrative about a group of resourceful and determined young people targeting an oil pipeline in West Texas. The “why,” here, is not an imagined future but a clearly evident present of extreme, horrifically deadly weather. The message and the performances are utterly compelling.\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938883\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Lobby Art\u003c/h2>\n\u003cp>\u003ci>\u003cb>Barbara Stauffacher Solomon, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">Strips of Stripes\u003c/a>’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSept. 16, 2023–Ongoing\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13839094",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been five years since Barbara Stauffacher Solomon graced the Berkeley Art Museum and Pacific Film Archive’s entryway with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">Land(e)scape 2018\u003c/a>\u003c/i>, her stripey, pointy response to both the architecture and the political moment. At SFMOMA, the nearly 95-year-old has been given an even larger canvas and access to adjoining planes. Walls, ceilings, elevator doors and columns flatten and morph under the application of her striking black and red stripes. As the supergraphics wrapping around SFMOMA’s lobby assert — it’s Bobbie’s world, we’re just lucky enough to live in it.\u003c/p>\n\u003cfigure id=\"attachment_13933753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg\" alt=\"A crowd outside of a tile-roofed storefront on a sunny day\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd outside Personal Space during the opening of ‘Salad Days.’ \u003ccite>(Amy Owen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Reasons for Art Optimism\u003c/h2>\n\u003cp>The Bay Area lost some great art spaces this year (most notably, \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">Ratio 3\u003c/a> and McEvoy Foundation for the Arts), but we’ve also had a minor explosion of artist-run spaces and expansions. Lindsay Albert and Ivana Colendich created \u003ca href=\"https://staircase.place/\">staircase\u003c/a> in January (its name tells you everything you need to know about this gallery’s invigorating layout). Cole Solinger and Nicolas Torres opened \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a>, while \u003ca href=\"https://etaletc.com/#/\">Et al.\u003c/a>’s Mission Street outpost expanded their footprint to take over Ratio 3’s former space. In June, Lisa Rybovich Crallé launched Vallejo’s \u003ca href=\"https://www.kqed.org/arts/13933701/personal-space-vallejo-gallery\">Personal Space\u003c/a> to cheerful crowds. And Et al. rented their former Mission gallery to Nico Colón, who opened \u003ca href=\"https://climatecontrolsf.org/\">Climate Control\u003c/a> in September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13933701",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Just last month, Steuart Pittman and Savannah Rusher held the inaugural show (of sign painters!) at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a> in Oakland, while Facundo Argañaraz housed his previously itinerant project \u003ca href=\"https://www.1599fdt.com/\">1599fdT\u003c/a> in the old Union Cleaners in San Francisco’s Chinatown (another Et al. sublet, for those keeping track). And within the space of the year, \u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a> opened and closed after Theadora Walsh and Gabriel Garza held down the fort for \u003ca href=\"https://www.cushionworks.info/\">Cushion Works\u003c/a>’ Jordan Stein — a reminder that not everything marvelous and influential needs to last forever.\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/ZAkiyaKSF5A'\n title='//www.youtube.com/embed/ZAkiyaKSF5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Most Excellent Object\u003c/h2>\n\u003cp>\u003ci>\u003cb>Dawn Cerny, ‘\u003ca href=\"https://www.riteeditions.com/editions/62b279e38826374174ab5ba9\">Tabletop Sculptures\u003c/a>’\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Where do you put your keys? How about coupons? Rubber bands? If your home is anything like mine, there exist any number of errant yet important things that \u003ci>must\u003c/i> remain in sight at all times. My own solutions are multi-prong and imperfect: hook, jar, desk stack, fridge. But what if there was an object — a strange and colorful object — that could somehow hold \u003ci>all the things?\u003c/i> Enter \u003ca href=\"https://www.dawncerny.com/\">Dawn Cerny\u003c/a>’s \u003ci>Tabletop Sculptures\u003c/i>, published this year by \u003ca href=\"https://www.riteeditions.com/\">RITE Editions\u003c/a>. These customizable wooden stands come with felt pads, glass cups, clips, pencils and pegs, offering absurdist organization for the necessary detritus of human life.\u003c/p>\n\u003cfigure id=\"attachment_13938884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/SkateModernism_2000.jpg\" alt=\"Group of people circled around man in baseball cap, buildings surround them in plaza\" width=\"2000\" height=\"1506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1536x1157.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1920x1446.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ted Barrow begins the walking tour ‘Skate Modernism’ in St. Mary’s Square, San Francisco. \u003ccite>(Barrett Reiter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sickest Skate Tour\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://www.docomomo-noca.org/events/skatemodernism-walkingtour\">Skate Modernism: The California Street Corridor\u003c/a>’\u003c/b>\u003cbr>\nOct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931352",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Led by art and skate-historian Ted Barrow (host of \u003ci>Thrasher\u003c/i>’s “\u003ca href=\"https://www.youtube.com/playlist?list=PL7V-xVyJYY3fCEf5hj0520eKBEplyy6jZ\">This Old Ledge\u003c/a>”), this walking tour organized by Docomomo Northern California sauntered down eight blocks of California Street, demonstrating the entwined history of some of San Francisco’s most preeminent architecture with an activity those architects likely never foresaw or never endorsed. As the very first issue of \u003ci>Thrasher\u003c/i> proclaimed, “skate architecture is everywhere, grind every edge — you’ve gotta find all the lines you can.” From \u003ca href=\"https://findskatespots.com/spots/sf-ca/california-street-black-rock\">Black Rock\u003c/a> (Masayuki Nagare’s black granite \u003ci>Transcendence\u003c/i> at 555 California St.) to Embarcadero Plaza, Barrow engagingly pointed out the design details of a mostly corporate, mostly private environment that skaters, more than any other city dwellers, have challenged and reinvented.\u003c/p>\n\u003cfigure id=\"attachment_13938885\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BenignNeglect1.jpeg\" alt=\"Three rows of framed photographs of bonsai on white wall\" width=\"2000\" height=\"1498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1536x1150.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1920x1438.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Takeshi Moro’s ‘Benign Neglect’ at the Military Intelligence Service Historic Learning Center in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Impactful Show I Almost Missed\u003c/h2>\n\u003cp>\u003ci>\u003cb>Takeshi Moro, ‘\u003ca href=\"https://takeshimoro.com/benign-neglect-historical-japanese-american-bonsai-2/\">Benign Neglect\u003c/a>’\u003c/b>\u003cbr>\nMilitary Intelligence Service Historic Learning Center, San Francisco\u003cbr>\nSept. 16–Oct. 22, 2023\u003c/i>\u003c/p>\n\u003cp>Laid out in a tight grid along two walls, this was a spare presentation of 60 seemingly unremarkable bonsai. The “portraits” represent just a fraction of Dennis Makishima’s historic bonsai collection, captured together for the last time before they went to public auction in 2021. Makishima, a renowned aesthetic pruner who taught bonsai workshops around the world, inherited his collection from Japanese Americans who mostly grew the plants from seed post-WWII. \u003c/p>\n\u003cp>These bonsai didn’t always receive the kind of attention Makishima would later devote to them, and for that reason he considered them examples of “benign neglect” — evidence of their owners rebuilding their lives after incarceration. While the bonsai weren’t perfect, or even aesthetically “correct” in Makishima’s view, an accompanying handout captured his many feelings about, frustrations with and plans for each plant. Unique yet emblematic, these living markers of history told an eloquent story of a very human need to nurture and grow.\u003c/p>\n\u003cfigure id=\"attachment_13938886\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg\" alt=\"Fractured and multicolored tile pieces on light gray walls, in foreground a sculpture made of white gridded material with a ceramic piece on top\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jim Melchert (on walls) and Tracy Ren (on floor) in ‘Still, The Meandering Path’ at Gallery 16. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Posthumous Retrospective\u003c/h2>\n\u003cp>\u003ci>\u003cb>Jim Melchert, ‘\u003ca href=\"https://gallery16.com/exhibitions/still-the-meandering-path\">Still, The Meandering Path\u003c/a>’\u003c/b>\u003cbr>\nGallery 16, San Francisco\u003cbr>\nJuly 28–Sept. 7, 2023\u003c/i>\u003c/p>\n\u003cp>We lost a giant of the Bay Area art scene this year. \u003ca href=\"https://jimmelchert.com/\">Jim Melchert\u003c/a>, known for his fractured and colorfully glazed abstract ceramic pieces, was a beloved educator and mentor — and not only to the artists in his UC Berkeley classes. I regret that I only spoke with him once in passing, but it was enough time to experience his legendary warmth and kindness. This Gallery 16 show brought together Melchert’s last works, including \u003ci>Jim’s Final Tile\u003c/i>, a snaking river of buoyant color against a neutral tan background, with work by 14 contemporary ceramics artists as “a testament to his enduring influence and living legacy.” Melchert’s material experimentations, his use of both chance and rule-making, and his commitment to form echoed throughout the work of artists like Erik Scollon, Liz Hernández, Nathan Lynch and Gay Outlaw. It was a fitting, beautiful farewell.\u003c/p>\n\u003cfigure id=\"attachment_13938930\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg\" alt=\"Three large rainbow-hued abstract paintings in white-walled gallery space\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13938930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Rema Ghuloum’s ‘4 is a Rainbow Line’ at Et al.’s former Mission Street space. \u003ccite>(Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Transcendent Solo Show\u003c/h2>\n\u003cp>\u003ci>\u003cb>Rema Ghuloum, ‘\u003ca href=\"https://etaletc.com/rema-ghuloum\">4 is a Rainbow Line\u003c/a>’\u003c/b>\u003cbr>\nEt al., 2831 Mission St., San Francisco\u003cbr>\nMarch 4–April 8, 2023\u003c/i>\u003c/p>\n\u003cp>Stepping into a room of \u003ca href=\"http://www.remaghuloum.com/\">Rema Ghuloum\u003c/a>’s large-scale paintings is like entering a prism. Rainbow shades spread luminously across her canvases, emanating out from central tangles to create otherworldly portals. In \u003ci>4 is a Rainbow Line\u003c/i>, the paintings’ scale (some nearly seven feet tall) made standing before them akin to worship — you could look up, down, all over, but you can never really get a sense of the whole. Like \u003ca href=\"https://www.artic.edu/articles/969/la-grande-jatte-frame-by-frame\">Seurat\u003c/a>, Ghuloum uses a framing technique to create perceptual shifts along the edges of her paintings, encasing her canvas in thin strips of contrasting tones or dots of color. Looking elicited only pure awe and delight. Photography, of course, utterly failed me here.\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/YD5pYQiT1D4'\n title='//www.youtube.com/embed/YD5pYQiT1D4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Best Reminder of a Revolutionary Spirit\u003c/h2>\n\u003cp>\u003cb>\u003ci>‘\u003ca href=\"https://www.hbo.com/movies/all-the-beauty-and-the-bloodshed\">All the Beauty and All the Bloodshed\u003c/a>’\u003c/i>\u003c/b>\u003c/p>\n\u003cp>(This 2022 documentary by Laura Poitras sneaks onto the list because I caught it at the Roxie this year.) Photographer and activist Nan Goldin has lived a life marked by tragedy, recovery and defiance. While this film does its expected job of charting the chronology of Goldin’s life and the development of her frank, arresting photos, those details are interspersed with her contemporary fight, in her 60s, against the Sackler family. In 2017, Goldin founded \u003ca href=\"https://www.sacklerpain.org/\">P.A.I.N.\u003c/a> (Prescription Addiction Intervention Now) as result of her own Oxycontin addiction and near-fatal overdose of fentanyl. \u003ci>All the Beauty\u003c/i> tenderly shows how Goldin’s experiences prepared her for both sides of this work: staging aesthetically dramatic protests in Sackler-funded art spaces and connecting intimately with those left behind in the wreckage of addiction.\u003c/p>\n\u003cfigure id=\"attachment_13938926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg\" alt='White tote bag with \"I survived the SF doom spiral\" in black lettering' width=\"1920\" height=\"2560\" class=\"size-full wp-image-13938926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Tucker Nichols’ A+ tote for Park Life. \u003ccite>(Courtesy the artist and Park Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Most Fitting Commemorative Merch of 2023\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://parklifestore-webstore.com/products/doom-loop-tote-by-tucker-nichols\">A tote bag by Tucker Nichols\u003c/a>\u003c/b>\u003cbr>\nAvailable at Park Life, 220 Clement St., San Francisco\u003c/i>\u003c/p>\n\u003cp>We made it to the end of another year. As per usual, \u003ca href=\"https://www.tuckernichols.com/\">Tucker Nichols\u003c/a> knows exactly what to say.\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": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938881/the-best-art-i-saw-in-2023",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_74",
"arts_70"
],
"tags": [
"arts_21777",
"arts_10342",
"arts_10278"
],
"featImg": "arts_13938883",
"label": "arts"
},
"arts_13938158": {
"type": "posts",
"id": "arts_13938158",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938158",
"score": null,
"sort": [
1701801327000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701801327,
"format": "aside",
"title": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"headTitle": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits | KQED",
"content": "\u003cfigure id=\"attachment_13938767\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png\" alt=\"A pale white woman with long black hair and exaggerated Victorian clothing stands in side profile, wind blowing through her hair, a deep blue sky behind her.\" width=\"1898\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Bella Baxter in ‘Poor Things.’ \u003ccite>(Searchlight Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you happen across a film critic this week who insists that \u003ca href=\"https://www.imdb.com/title/tt14230458/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_poor%2520things\">\u003cem>Poor Things\u003c/em>\u003c/a> is a bad movie, please make a mental note that a) they are lying, and b) they’re probably being a contrarian because they know every other critic on Earth is going to fall over themselves with glee to sing this movie’s praises.\u003c/p>\n\u003cp>Make no mistake, \u003cem>Poor Things\u003c/em> is a masterpiece — a visual one, a philosophical one and a feminist one. It will make you laugh, it will make you ruminate and it will fill you with defiant, rebellious thoughts that persist long after the movie is over. Once you’re tangled up in its surreal, sensuous, open-wide world, it’s quite impossible to not be thoroughly taken with \u003cem>Poor Things.\u003c/em> As taken, in fact, as all of the male suitors in the movie are with its unconventional heroine, Bella Baxter. (Played with magnificent abandon by Emma Stone.)\u003c/p>\n\u003cp>[aside postid='arts_13938620']Bella is the creation of Dr. Godwin “God” Baxter (Willem Dafoe), a man who bears the physical and mental scars of his father’s own medical experiments. (I’ll save you the details of exactly how he came up with Bella — it’s far more fun to find out by watching the movie.) Most people, including most of the medical students he teaches, laugh in God’s face. But not Bella. Bella loves God. God keeps Bella safe. God nourishes Bella.\u003c/p>\n\u003cp>At a certain point in her development however, Bella — imbued with a curiosity that has never been trounced by social conditioning or convention — insists she must see the world beyond the limited scope granted to her within God’s house. (No, the analogies are not that subtle.) Along comes a womanizing cad named Duncan Wedderburn (Mark Ruffalo in deliciously pompous form) who whisks Bella away from London and off to Portugal, Egypt and then finally to France.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vjm0udI77KU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bella’s journey is an odyssey in which she painstakingly immerses herself in parsing the meaning of life. At first, she can’t imagine why it’s not only about sexual indulgence — her insatiable, un-self-conscious appetites prompt her first desires to leave God’s house. And though her journey beyond begins thoroughly immersed in pure, unfettered pleasure, along the way she comes to understand inequality and cruelty, humanity’s basest survival instincts and man’s desire to cage or destroy all that is free and beautiful. (Including herself.)\u003c/p>\n\u003cp>Unimpeded by fear or social mores, Bella experiences each stage of her travels viscerally, unpretentiously and at face value. She lives in a manner that is gloriously unfiltered and untethered, leading to many laugh-out-loud moments. (“I must go punch that baby,” she casually announces in a ballroom after an infant starts crying. What follows is the most hilarious scene in the movie.)\u003c/p>\n\u003cp>Bella enthusiastically devours experiences and individuals that others might consider negative or grotesque in order to get to the lessons within. It helps that she is entirely incapable of taking anything happening around her personally, a skill that grants her exceptional problem-solving abilities — and provides not a few zingers. (At one point, she shuts down a passionate lover’s tiff by saying simply, “I feel this conversation has grown circular.” When called a “whore” in the street, she responds “We are our own means of production,” and keeps walking.)\u003c/p>\n\u003cp>[aside postid='arts_13938358']At its core, \u003cem>Poor Things\u003c/em> is not terribly different from Henry David Thoreau’s famous quote about “sucking the marrow out of life.” Like Thoreau, Bella wishes “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Where \u003cem>Poor Things\u003c/em> excels far beyond that concept is in its stunning execution. The script is a marvel. The costumes are breathtakingly imaginative — an awards sweep waiting to happen. The sets are imbued with art itself, calling to mind the colorscape of Klimt, the twisted wit of Salvador Dali and the sensitivity of Frida Kahlo. Ultimately, the movie’s vision also reflects how Bella sees the world at any given moment. (At God’s house, everything is black and white and fisheye lenses. Outside, her adventures are in hypercolor.)\u003c/p>\n\u003cp>At the beginning of \u003cem>Poor Things\u003c/em>, Bella appears an aberration, much like the strange animal hybrids that also roam freely in God’s house. Ultimately, though, by moving through life unencumbered by human ego, Bella Baxter offers not only a rewarding two and a half hours of entertainment, but lessons to enthusiastically live by.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Poor Things’ opens in San Francisco at the \u003ca href=\"https://drafthouse.com/sf/show/poor-things\">Alamo Drafthouse\u003c/a> and \u003ca href=\"https://www.amctheatres.com/movies/poor-things-early-access-75493\">AMC Metreon\u003c/a> on Dec. 5 and hits theaters nationwide on Dec. 8.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 855,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705535532,
"excerpt": "Yorgos Lanthimos’ latest movie will leave you wanting to commit many wanton acts of rebellion... while exquisitely dressed.",
"headData": {
"twImgId": "",
"twTitle": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"socialTitle": "‘Poor Things’ Review: An Anarchic, Artistic Celebration of Life %%page%% %%sep%% KQED",
"ogTitle": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"ogImgId": "",
"twDescription": "",
"description": "Yorgos Lanthimos’ latest movie will leave you wanting to commit many wanton acts of rebellion... while exquisitely dressed.",
"title": "‘Poor Things’ Review: An Anarchic, Artistic Celebration of Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"datePublished": "2023-12-05T10:35:27-08:00",
"dateModified": "2024-01-17T15:52:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938767\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png\" alt=\"A pale white woman with long black hair and exaggerated Victorian clothing stands in side profile, wind blowing through her hair, a deep blue sky behind her.\" width=\"1898\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Bella Baxter in ‘Poor Things.’ \u003ccite>(Searchlight Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you happen across a film critic this week who insists that \u003ca href=\"https://www.imdb.com/title/tt14230458/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_poor%2520things\">\u003cem>Poor Things\u003c/em>\u003c/a> is a bad movie, please make a mental note that a) they are lying, and b) they’re probably being a contrarian because they know every other critic on Earth is going to fall over themselves with glee to sing this movie’s praises.\u003c/p>\n\u003cp>Make no mistake, \u003cem>Poor Things\u003c/em> is a masterpiece — a visual one, a philosophical one and a feminist one. It will make you laugh, it will make you ruminate and it will fill you with defiant, rebellious thoughts that persist long after the movie is over. Once you’re tangled up in its surreal, sensuous, open-wide world, it’s quite impossible to not be thoroughly taken with \u003cem>Poor Things.\u003c/em> As taken, in fact, as all of the male suitors in the movie are with its unconventional heroine, Bella Baxter. (Played with magnificent abandon by Emma Stone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938620",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Bella is the creation of Dr. Godwin “God” Baxter (Willem Dafoe), a man who bears the physical and mental scars of his father’s own medical experiments. (I’ll save you the details of exactly how he came up with Bella — it’s far more fun to find out by watching the movie.) Most people, including most of the medical students he teaches, laugh in God’s face. But not Bella. Bella loves God. God keeps Bella safe. God nourishes Bella.\u003c/p>\n\u003cp>At a certain point in her development however, Bella — imbued with a curiosity that has never been trounced by social conditioning or convention — insists she must see the world beyond the limited scope granted to her within God’s house. (No, the analogies are not that subtle.) Along comes a womanizing cad named Duncan Wedderburn (Mark Ruffalo in deliciously pompous form) who whisks Bella away from London and off to Portugal, Egypt and then finally to France.\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/vjm0udI77KU'\n title='//www.youtube.com/embed/vjm0udI77KU'\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>Bella’s journey is an odyssey in which she painstakingly immerses herself in parsing the meaning of life. At first, she can’t imagine why it’s not only about sexual indulgence — her insatiable, un-self-conscious appetites prompt her first desires to leave God’s house. And though her journey beyond begins thoroughly immersed in pure, unfettered pleasure, along the way she comes to understand inequality and cruelty, humanity’s basest survival instincts and man’s desire to cage or destroy all that is free and beautiful. (Including herself.)\u003c/p>\n\u003cp>Unimpeded by fear or social mores, Bella experiences each stage of her travels viscerally, unpretentiously and at face value. She lives in a manner that is gloriously unfiltered and untethered, leading to many laugh-out-loud moments. (“I must go punch that baby,” she casually announces in a ballroom after an infant starts crying. What follows is the most hilarious scene in the movie.)\u003c/p>\n\u003cp>Bella enthusiastically devours experiences and individuals that others might consider negative or grotesque in order to get to the lessons within. It helps that she is entirely incapable of taking anything happening around her personally, a skill that grants her exceptional problem-solving abilities — and provides not a few zingers. (At one point, she shuts down a passionate lover’s tiff by saying simply, “I feel this conversation has grown circular.” When called a “whore” in the street, she responds “We are our own means of production,” and keeps walking.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938358",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Poor Things\u003c/em> is not terribly different from Henry David Thoreau’s famous quote about “sucking the marrow out of life.” Like Thoreau, Bella wishes “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Where \u003cem>Poor Things\u003c/em> excels far beyond that concept is in its stunning execution. The script is a marvel. The costumes are breathtakingly imaginative — an awards sweep waiting to happen. The sets are imbued with art itself, calling to mind the colorscape of Klimt, the twisted wit of Salvador Dali and the sensitivity of Frida Kahlo. Ultimately, the movie’s vision also reflects how Bella sees the world at any given moment. (At God’s house, everything is black and white and fisheye lenses. Outside, her adventures are in hypercolor.)\u003c/p>\n\u003cp>At the beginning of \u003cem>Poor Things\u003c/em>, Bella appears an aberration, much like the strange animal hybrids that also roam freely in God’s house. Ultimately, though, by moving through life unencumbered by human ego, Bella Baxter offers not only a rewarding two and a half hours of entertainment, but lessons to enthusiastically live by.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Poor Things’ opens in San Francisco at the \u003ca href=\"https://drafthouse.com/sf/show/poor-things\">Alamo Drafthouse\u003c/a> and \u003ca href=\"https://www.amctheatres.com/movies/poor-things-early-access-75493\">AMC Metreon\u003c/a> on Dec. 5 and hits theaters nationwide on Dec. 8.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13939926",
"label": "arts_140"
},
"arts_13938908": {
"type": "posts",
"id": "arts_13938908",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938908",
"score": null,
"sort": [
1701798330000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1701798330,
"format": "standard",
"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento",
"headTitle": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
"content": "\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>[aside postID='arts_13932865']“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1401,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705003021,
"excerpt": "The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.",
"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Greta Gerwig Wants to Make Two More Movies About Sacramento",
"datePublished": "2023-12-05T09:45:30-08:00",
"dateModified": "2024-01-11T11:57:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "greta-gerwig-sacramento-ryan-gosling-nicolas-cage-sffilm-awards",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938908/greta-gerwig-sacramento-ryan-gosling-nicolas-cage-sffilm-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \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>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13932865",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\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>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938908/greta-gerwig-sacramento-ryan-gosling-nicolas-cage-sffilm-awards",
"authors": [
"11872"
],
"categories": [
"arts_1",
"arts_74",
"arts_235"
],
"tags": [
"arts_11374",
"arts_9943",
"arts_21780",
"arts_1146",
"arts_3772",
"arts_1040"
],
"featImg": "arts_13938915",
"label": "arts"
},
"arts_13938620": {
"type": "posts",
"id": "arts_13938620",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938620",
"score": null,
"sort": [
1701219817000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701219817,
"format": "standard",
"title": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film",
"headTitle": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film | KQED",
"content": "\u003cp>Something strange has happened to Eileen Dunlop, and we don’t just mean the plot of \u003cem>Eileen\u003c/em>. The adaptation of novelist Ottessa Moshfegh’s delicious coming-of-age heroine has had a weird birth onto film.\u003c/p>\n\u003cp>The plot and setting haven’t changed: It’s late 1964 in a frigid coastal town in Massachusetts. “Everybody’s kind of angry here — it’s Massachusetts,” Eileen explains in one her best lines. She works as a clerk at a juvenile corrections facility, goes home to an alcoholic dad and repeats. Her whole world is a prison.\u003c/p>\n\u003cp>[aside postid='arts_13938358']In print, she is dark and self-obsessed and deliciously willing to poke into every squeamish horror, even her own “folds and caverns.” On celluloid, she is just a plain, anti-social Jane. In print in one scene, she scratches her nether regions and pointedly uses the unwashed fingers to shake hands with a boss. In the film, she just walks away. Eileen has been neutered.\u003c/p>\n\u003cp>It’s not clear what has happened since Moshfegh — along with Luke Goebel — is a screenwriter as well as a producer. Moshfegh’s original creation is a “fabulous shoplifter” who keeps a dead field mouse in the glove box of her smoky Dodge Coronet and loves \u003cem>National Geographic\u003c/em> issues that feature unusual, painful tribal rituals. None of that made it to the film. That leaves her too inert, too passive — wide-eyed without the naughty.\u003c/p>\n\u003cp>\u003cem>Eileen\u003c/em> was always going to be a hard book to adapt, especially since it’s so internal. It’s really a character study for most of the way, then events get jolted by an unexpected outsider — a real deus ex machina — and then it evolves into a low-stakes noir thriller, right down to the film’s too heavy Hitchcockian end credits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1PYJIBoBPtU\u003c/p>\n\u003cp>Thomasin McKenzie playing the titular character has a lot to do and she does it admirably, appearing mouse-ish from the outside, pulling pubic hair out of a bar of soap with delightful glee and taking the occasional flight of fancy by dreaming of executing her dad or having a hot and heavy tryst with a guard. “Get a life, Eileen. Get a clue,” says her unamusing dad.\u003c/p>\n\u003cp>The deus ex machina here is Anne Hathaway as the glamorous Harvard-trained psychiatrist Rebecca Saint John, who drinks cocktails, smokes furiously — “It’s a nasty habit. That’s why I like it” — dances alone in bars and doesn’t buy any ’50s conventions. “I don’t get what’s popular,” she says. Hathaway could have pulled back the throttle a little, often overawing McKenzie’s mouse.\u003c/p>\n\u003cp>Hathaway’s sophisticated character is the key to unlocking Eileen, and the young woman begins mimicking the older, often wearing her dead mother’s clothes as she smokes or drinks martinis. They have a sort of flirtation — game recognizing game. “You really think you’re a normal person?” the psychiatrist asks Eileen.\u003c/p>\n\u003cp>[aside postid='arts_13938143']While director William Oldroyd often gets lost in the heavy darkness of noir, the screenwriters have some fabulous lines, like when Saint John tells Eileen: “You remind me of a girl in a Dutch painting. You have a strange face. It’s plain but fascinating — with a beautiful turbulence.”\u003c/p>\n\u003cp>Or when gin-soaked dad — a great Shea Whigham — calmly destroys his daughter: “Some people, they’re the real people. Like in a movie. They’re the ones you watch, they’re the ones making moves. And other people, they’re just there, filling the space,” he says. “That’s you, Eileen. You’re one of them.”\u003c/p>\n\u003cp>And that’s the fate of \u003cem>Eileen\u003c/em>, too, unfortunately. By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Eileen’ is released nationwide on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 712,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705003050,
"excerpt": "The movie version of ‘Eileen’ is strange but doesn’t live up to the book’s deliciously dark and self-obsessed main character.",
"headData": {
"twImgId": "",
"twTitle": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film",
"socialTitle": "‘Eileen’ Review: Anne Hathaway Goes Hitchcock in New Thriller %%page%% %%sep%% KQED",
"ogTitle": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film",
"ogImgId": "",
"twDescription": "",
"description": "The movie version of ‘Eileen’ is strange but doesn’t live up to the book’s deliciously dark and self-obsessed main character.",
"title": "‘Eileen’ Review: Anne Hathaway Goes Hitchcock in New Thriller | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film",
"datePublished": "2023-11-28T17:03:37-08:00",
"dateModified": "2024-01-11T11:57:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "eileen-movie-novel-adaptation-anne-hathaway-thomasin-mckenzie",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13938620/eileen-movie-novel-adaptation-anne-hathaway-thomasin-mckenzie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Something strange has happened to Eileen Dunlop, and we don’t just mean the plot of \u003cem>Eileen\u003c/em>. The adaptation of novelist Ottessa Moshfegh’s delicious coming-of-age heroine has had a weird birth onto film.\u003c/p>\n\u003cp>The plot and setting haven’t changed: It’s late 1964 in a frigid coastal town in Massachusetts. “Everybody’s kind of angry here — it’s Massachusetts,” Eileen explains in one her best lines. She works as a clerk at a juvenile corrections facility, goes home to an alcoholic dad and repeats. Her whole world is a prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938358",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In print, she is dark and self-obsessed and deliciously willing to poke into every squeamish horror, even her own “folds and caverns.” On celluloid, she is just a plain, anti-social Jane. In print in one scene, she scratches her nether regions and pointedly uses the unwashed fingers to shake hands with a boss. In the film, she just walks away. Eileen has been neutered.\u003c/p>\n\u003cp>It’s not clear what has happened since Moshfegh — along with Luke Goebel — is a screenwriter as well as a producer. Moshfegh’s original creation is a “fabulous shoplifter” who keeps a dead field mouse in the glove box of her smoky Dodge Coronet and loves \u003cem>National Geographic\u003c/em> issues that feature unusual, painful tribal rituals. None of that made it to the film. That leaves her too inert, too passive — wide-eyed without the naughty.\u003c/p>\n\u003cp>\u003cem>Eileen\u003c/em> was always going to be a hard book to adapt, especially since it’s so internal. It’s really a character study for most of the way, then events get jolted by an unexpected outsider — a real deus ex machina — and then it evolves into a low-stakes noir thriller, right down to the film’s too heavy Hitchcockian end credits.\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/1PYJIBoBPtU'\n title='//www.youtube.com/embed/1PYJIBoBPtU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thomasin McKenzie playing the titular character has a lot to do and she does it admirably, appearing mouse-ish from the outside, pulling pubic hair out of a bar of soap with delightful glee and taking the occasional flight of fancy by dreaming of executing her dad or having a hot and heavy tryst with a guard. “Get a life, Eileen. Get a clue,” says her unamusing dad.\u003c/p>\n\u003cp>The deus ex machina here is Anne Hathaway as the glamorous Harvard-trained psychiatrist Rebecca Saint John, who drinks cocktails, smokes furiously — “It’s a nasty habit. That’s why I like it” — dances alone in bars and doesn’t buy any ’50s conventions. “I don’t get what’s popular,” she says. Hathaway could have pulled back the throttle a little, often overawing McKenzie’s mouse.\u003c/p>\n\u003cp>Hathaway’s sophisticated character is the key to unlocking Eileen, and the young woman begins mimicking the older, often wearing her dead mother’s clothes as she smokes or drinks martinis. They have a sort of flirtation — game recognizing game. “You really think you’re a normal person?” the psychiatrist asks Eileen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938143",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>While director William Oldroyd often gets lost in the heavy darkness of noir, the screenwriters have some fabulous lines, like when Saint John tells Eileen: “You remind me of a girl in a Dutch painting. You have a strange face. It’s plain but fascinating — with a beautiful turbulence.”\u003c/p>\n\u003cp>Or when gin-soaked dad — a great Shea Whigham — calmly destroys his daughter: “Some people, they’re the real people. Like in a movie. They’re the ones you watch, they’re the ones making moves. And other people, they’re just there, filling the space,” he says. “That’s you, Eileen. You’re one of them.”\u003c/p>\n\u003cp>And that’s the fate of \u003cem>Eileen\u003c/em>, too, unfortunately. By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Eileen’ is released nationwide on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938620/eileen-movie-novel-adaptation-anne-hathaway-thomasin-mckenzie",
"authors": [
"byline_arts_13938620"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_585"
],
"featImg": "arts_13938622",
"label": "arts_140"
},
"arts_13938155": {
"type": "posts",
"id": "arts_13938155",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938155",
"score": null,
"sort": [
1701205805000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701205805,
"format": "aside",
"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 949,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705535577,
"excerpt": "A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.",
"headData": {
"twImgId": "",
"twTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"socialTitle": "‘Thriller 40’ Review: Remembering Michael Jackson’s Early Magic%%page%% %%sep%% KQED",
"ogTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"ogImgId": "",
"twDescription": "",
"description": "A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.",
"title": "‘Thriller 40’ Review: Remembering Michael Jackson’s Early Magic | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"datePublished": "2023-11-28T13:10:05-08:00",
"dateModified": "2024-01-17T15:52:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938155/thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13910810",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\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>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_97337",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938155/thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_10493",
"arts_13672",
"arts_10278",
"arts_4919",
"arts_925",
"arts_769",
"arts_8404",
"arts_585"
],
"featImg": "arts_13938611",
"label": "arts_140"
},
"arts_13938585": {
"type": "posts",
"id": "arts_13938585",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938585",
"score": null,
"sort": [
1701200890000
]
},
"guestAuthors": [],
"slug": "three-chaplains-pbs-documentary-us-military-david-washburn-saleha-jabeen",
"title": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military",
"publishDate": 1701200890,
"format": "standard",
"headTitle": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>[aside postid='arts_13938450']In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BT_hfVEOew\u003c/p>\n\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>[aside postid='arts_13938247']That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>[aside postid='arts_13936153']She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>[aside postid='news_11967916']During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Three Chaplains’ introduces a trio of Muslims helping to chip away at religious fears and bias in the armed forces.",
"status": "publish",
"parent": 0,
"modified": 1726757531,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 39,
"wordCount": 1448
},
"headData": {
"title": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military | KQED",
"description": "‘Three Chaplains’ introduces a trio of Muslims helping to chip away at religious fears and bias in the armed forces.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military",
"datePublished": "2023-11-28T11:48:10-08:00",
"dateModified": "2024-09-19T07:52:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "pbs-documentary-offers-a-peek-into-the-lives-of-muslim-chaplains-in-us-military",
"nprByline": "Mariam Fam, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13938585/three-chaplains-pbs-documentary-us-military-david-washburn-saleha-jabeen",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938450",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\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/_BT_hfVEOew'\n title='//www.youtube.com/embed/_BT_hfVEOew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938247",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936153",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11967916",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938585/three-chaplains-pbs-documentary-us-military-david-washburn-saleha-jabeen",
"authors": [
"byline_arts_13938585"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_13672",
"arts_21762",
"arts_585"
],
"featImg": "arts_13938592",
"label": "arts_140"
},
"arts_13938421": {
"type": "posts",
"id": "arts_13938421",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938421",
"score": null,
"sort": [
1700682353000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1700682353,
"format": "standard",
"title": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up?",
"headTitle": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up? | KQED",
"content": "\u003cp>The 50\u003csup>th\u003c/sup> anniversary of the classic \u003cem>Peanuts\u003c/em> holiday special, \u003cem>A Charlie Brown Thanksgiving, \u003c/em>has arrived. These days, the show, which first aired on CBS in 1973, feels like a bittersweet relic from the era of the Vietnam War.\u003c/p>\n\u003cp>Its age creeps through the soft watercolors of its autumnal landscapes and in the tone of some characters. (“Sally, Thanksgiving is a very important holiday,” Linus drones in what we now commonly recognize as “mansplaining.”)\u003c/p>\n\u003cp>[aside postid='arts_13937608']Poor Charlie Brown, who wants to go to his grandmother’s for dinner, has to manage his bossy friend, Peppermint Patty. Today, many viewers celebrate the athletic, confident character as a beacon of non-normative girlhood; she is swaggering and subversive.\u003c/p>\n\u003cp>Peppermint Patty invites herself over to Charlie Brown’s for dinner, along with her very best friend, Marcie, and Franklin, the only Black character in \u003cem>Peanuts\u003c/em>. Franklin was added to the strip in 1968, in the immediate aftermath of the assassination of Dr. Martin Luther King Jr., at the suggestion of a schoolteacher. \u003cem>Peanuts\u003c/em> creator Charles Schulz later said at least one newspaper editor in the South balked at running comics that showed a Black child attending school along with the rest of the \u003cem>Peanuts\u003c/em> gang.\u003c/p>\n\u003cp>Schulz had very little to do with the animated television specials. During the dinner scene in \u003cem>A Charlie Brown Thanksgiving,\u003c/em> Franklin is seated alone in a sagging lawn chair at one side of the table. To our eyes today, it seems jarring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s so very easy to get offended or upset … but we have to remember that at that time, that actually represented progress,” said Robin Reed \u003ca href=\"https://www.msnbc.com/gibson-reiser/watch/lindsey-reiser-talks-to-the-voice-behind-franklin-126784581956\">in a 2021 MSNBC interview\u003c/a>. He voiced the character of Franklin when he was only 11. Reed said he’s still proud of the special and the character.\u003c/p>\n\u003cp>“I’m glad he’s at the table!” Bryant Keith Alexander told NPR. “Does it matter that he’s sitting in a lawn chair, isolated on one side of the table? Yeah, because that’s symbolic of the time. … His positionality at the table is secondary to the fact that he’s at the table.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>[aside postid='pop_7560']“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 742,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705003063,
"excerpt": "CBS first aired the holiday special in 1973. The message still shines, but some characters and scenes feel a little dated.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "CBS first aired the holiday special in 1973. The message still shines, but some characters and scenes feel a little dated.",
"title": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up?",
"datePublished": "2023-11-22T11:45:53-08:00",
"dateModified": "2024-01-11T11:57:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "charlie-brown-thanksgiving-special-at-50-franklin-snoopy-peppermint-patty",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1214168977&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 22 Nov 2023 10:58:20 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 22 Nov 2023 10:58:20 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/11/22/1214168977/a-charlie-brown-thanksgiving-charles-schulz-franklin?ft=nprml&f=1214168977",
"nprImageAgency": "Allstar Picture Library Limited/Alamy",
"nprStoryId": "1214168977",
"nprByline": "Neda Ulaby",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Nov 2023 10:58:00 -0500",
"path": "/arts/13938421/charlie-brown-thanksgiving-special-at-50-franklin-snoopy-peppermint-patty",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 50\u003csup>th\u003c/sup> anniversary of the classic \u003cem>Peanuts\u003c/em> holiday special, \u003cem>A Charlie Brown Thanksgiving, \u003c/em>has arrived. These days, the show, which first aired on CBS in 1973, feels like a bittersweet relic from the era of the Vietnam War.\u003c/p>\n\u003cp>Its age creeps through the soft watercolors of its autumnal landscapes and in the tone of some characters. (“Sally, Thanksgiving is a very important holiday,” Linus drones in what we now commonly recognize as “mansplaining.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13937608",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Poor Charlie Brown, who wants to go to his grandmother’s for dinner, has to manage his bossy friend, Peppermint Patty. Today, many viewers celebrate the athletic, confident character as a beacon of non-normative girlhood; she is swaggering and subversive.\u003c/p>\n\u003cp>Peppermint Patty invites herself over to Charlie Brown’s for dinner, along with her very best friend, Marcie, and Franklin, the only Black character in \u003cem>Peanuts\u003c/em>. Franklin was added to the strip in 1968, in the immediate aftermath of the assassination of Dr. Martin Luther King Jr., at the suggestion of a schoolteacher. \u003cem>Peanuts\u003c/em> creator Charles Schulz later said at least one newspaper editor in the South balked at running comics that showed a Black child attending school along with the rest of the \u003cem>Peanuts\u003c/em> gang.\u003c/p>\n\u003cp>Schulz had very little to do with the animated television specials. During the dinner scene in \u003cem>A Charlie Brown Thanksgiving,\u003c/em> Franklin is seated alone in a sagging lawn chair at one side of the table. To our eyes today, it seems jarring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s so very easy to get offended or upset … but we have to remember that at that time, that actually represented progress,” said Robin Reed \u003ca href=\"https://www.msnbc.com/gibson-reiser/watch/lindsey-reiser-talks-to-the-voice-behind-franklin-126784581956\">in a 2021 MSNBC interview\u003c/a>. He voiced the character of Franklin when he was only 11. Reed said he’s still proud of the special and the character.\u003c/p>\n\u003cp>“I’m glad he’s at the table!” Bryant Keith Alexander told NPR. “Does it matter that he’s sitting in a lawn chair, isolated on one side of the table? Yeah, because that’s symbolic of the time. … His positionality at the table is secondary to the fact that he’s at the table.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10870599",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_7560",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938421/charlie-brown-thanksgiving-special-at-50-franklin-snoopy-peppermint-patty",
"authors": [
"byline_arts_13938421"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13938422",
"label": "arts_140"
},
"arts_13938358": {
"type": "posts",
"id": "arts_13938358",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938358",
"score": null,
"sort": [
1700594982000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1700594982,
"format": "standard",
"title": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’",
"headTitle": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’ | KQED",
"content": "\u003cp>Two years ago Emerald Fennell stood on the Oscars stage hoisting her writing trophy for\u003ca href=\"https://www.kqed.org/arts/13895652/emerald-fennells-promising-young-woman-doesnt-let-anyone-off-the-hook\">\u003cem> Promising Young Woman\u003c/em>\u003c/a>, a scathing look at rape culture and a balancing act of wit, style, shock value, audacity, great acting and pitch-black humor — plus a timely #MeToo message.\u003c/p>\n\u003cp>That’s a lot for a debut film, and we didn’t even mention the best director nomination. Not surprisingly, anticipation has been hot for the writer-director’s next effort (as an actor, she’s already graced a little film this year called \u003cem>Barbie\u003c/em>, in the suitably dark role of pregnant, discontinued Midge).\u003c/p>\n\u003cp>[aside postid='arts_13895652']Now \u003cem>Saltburn\u003c/em> is here, and the results are enticing but decidedly mixed — perhaps because Fennell seems to be trying to one-up herself by leaning on the shock value, at the eventual expense of other storytelling elements.\u003c/p>\n\u003cp>Make no mistake, the clever writing is here, as is the style, the sleek technique, and some terrific performances (Rosamund Pike is especially delicious in a supporting role). What’s missing, or muddled, is the message — and perhaps even more, the heart. After two hours of cringing and gasping in both awe and discomfort, we’re left admiring the “how” of what she’s doing but still figuring out the “why.”\u003c/p>\n\u003cp>One thing that’s not lacking: beauty. Unsurprisingly, Fennell excels at lush production values, especially in presenting the imposing, seductive and somewhat debauched Saltburn — no, not a person, but a country manor! This is England, and a story of class dynamics, so it’s surely fitting that the star be a piece of real estate. (And let’s just say, the phrase “real estate porn” takes on an added dimension here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lALMdJf6UUE&t=61s\u003c/p>\n\u003cp>We start, though, at Oxford. Here we meet our main character, Oliver Quick (and if that doesn’t take you straight back to Dickens, nothing will). It’s 2006, and Oliver (Barry Keoghan, ever-watchable and unpredictable) is a freshman on scholarship, feeling out of his league. At his first tutorial, he announces he read all 50 books on the summer reading list. His bemused teacher tells him nobody does that.\u003c/p>\n\u003cp>[aside postid='arts_13938168']Oliver soon learns that life at Oxford isn’t about what you’ve read, but who you know. In the Hogwarts-style dining hall, he can barely find someone to sit with — only a needy mathematics major. He has no earthly connection to the rest of the privileged, entitled (and in some cases, titled) student body, but aches to fit in.\u003c/p>\n\u003cp>And then aristocratic golden boy Felix appears, like a Greek god. Played by Jacob Elordi, currently appearing as Elvis in \u003cem>Priscilla\u003c/em>, Felix is gorgeous and effortlessly rakish; he seems to have never encountered hardship. Unless you count a flat tire on his bike, which is how Oliver meets him, lending his own bike so Felix can get to class.\u003c/p>\n\u003cp>The two become friends. It’s obvious what’s in it for Oliver, but what’s in it for Felix? That’s less clear, but Oliver’s home life has been hard. So, when Oliver tells Felix a tragedy has occurred involving his drug-addicted parents, Felix invites him to spend the summer at his family palace, er, home.\u003c/p>\n\u003cp>The family includes Felix’s beautiful but unstable sister, Venetia (Alison Oliver), his comically out-of-touch father, Sir James (Richard E. Grant, very funny), and the terrifically droll Pike as Elspeth, Felix’s glamorous, clueless mother. Also spending the summer is cousin Farleigh (Archie Madekwe, excellent) a Saltburn outsider himself — American-born, a person of color — but compared to Oliver an insider, which is crucial. The great Carey Mulligan, Oscar-nominated for \u003cem>Promising Young Woman\u003c/em>, has a welcome cameo as an unwelcome guest.\u003c/p>\n\u003cp>The early Saltburn days are intoxicating. Felix points out the various Rubens portraits, the original Shakespeare folios, that sort of thing. Days are spent lounging languidly on the lawn by the mossy pond. Dinner is black tie, so Oliver needs a loaner jacket and cufflinks. These people even play tennis in tuxes.\u003c/p>\n\u003cp>Then the really crazy stuff starts happening.\u003c/p>\n\u003cp>[aside postid='arts_13897161']And we mean Fennell-level crazy. In \u003cem>Promising Young Woman\u003c/em> there was a slow burn to the \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">shocking, graphic ending\u003c/a>. Here, the shocks come early. A few involve bodily fluids. Fennell knows how to startle the most jaded of film audiences — guests at the screening I attended either gasped or giggled in embarrassment.\u003c/p>\n\u003cp>Fennell is also comfortable with the world she seeks to paint. Even if you didn’t know beforehand, it’s pretty clear from the vividly rendered Oxford scenes that the director attended Oxford herself, and her scenes of student life at that storied institution, seen through outsider Oliver, form the most authentic-feeling part of the film.\u003c/p>\n\u003cp>But how long will Oliver remain an outsider? Will this uncertain and complicated young man, who arrives at the Saltburn gates too early and too naive to have waited for the footmen to collect him at the station, ever fit in, something he covets above all else? That’s the question the rest of the movie answers, taking increasingly sinister twists and turns.\u003c/p>\n\u003cp>As if in a garden maze, perhaps? Like any self-respecting, spectacular period mansion, Saltburn has one of those, too, where some key action takes place. More broadly, though, the maze seems to symbolize the effect of this film: pretty, seductive, challenging, forbidding and ultimately confounding.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saltburn’ was released on Nov. 17, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 958,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705003069,
"excerpt": "The movie is awash with clever writing, sleek technique and terrific performances. What’s missing is the message.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The movie is awash with clever writing, sleek technique and terrific performances. What’s missing is the message.",
"title": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’",
"datePublished": "2023-11-21T11:29:42-08:00",
"dateModified": "2024-01-11T11:57:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi",
"status": "publish",
"templateType": "standard",
"nprByline": "Jocelyn Noveck, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago Emerald Fennell stood on the Oscars stage hoisting her writing trophy for\u003ca href=\"https://www.kqed.org/arts/13895652/emerald-fennells-promising-young-woman-doesnt-let-anyone-off-the-hook\">\u003cem> Promising Young Woman\u003c/em>\u003c/a>, a scathing look at rape culture and a balancing act of wit, style, shock value, audacity, great acting and pitch-black humor — plus a timely #MeToo message.\u003c/p>\n\u003cp>That’s a lot for a debut film, and we didn’t even mention the best director nomination. Not surprisingly, anticipation has been hot for the writer-director’s next effort (as an actor, she’s already graced a little film this year called \u003cem>Barbie\u003c/em>, in the suitably dark role of pregnant, discontinued Midge).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13895652",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Now \u003cem>Saltburn\u003c/em> is here, and the results are enticing but decidedly mixed — perhaps because Fennell seems to be trying to one-up herself by leaning on the shock value, at the eventual expense of other storytelling elements.\u003c/p>\n\u003cp>Make no mistake, the clever writing is here, as is the style, the sleek technique, and some terrific performances (Rosamund Pike is especially delicious in a supporting role). What’s missing, or muddled, is the message — and perhaps even more, the heart. After two hours of cringing and gasping in both awe and discomfort, we’re left admiring the “how” of what she’s doing but still figuring out the “why.”\u003c/p>\n\u003cp>One thing that’s not lacking: beauty. Unsurprisingly, Fennell excels at lush production values, especially in presenting the imposing, seductive and somewhat debauched Saltburn — no, not a person, but a country manor! This is England, and a story of class dynamics, so it’s surely fitting that the star be a piece of real estate. (And let’s just say, the phrase “real estate porn” takes on an added dimension here.)\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/lALMdJf6UUE'\n title='//www.youtube.com/embed/lALMdJf6UUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We start, though, at Oxford. Here we meet our main character, Oliver Quick (and if that doesn’t take you straight back to Dickens, nothing will). It’s 2006, and Oliver (Barry Keoghan, ever-watchable and unpredictable) is a freshman on scholarship, feeling out of his league. At his first tutorial, he announces he read all 50 books on the summer reading list. His bemused teacher tells him nobody does that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938168",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Oliver soon learns that life at Oxford isn’t about what you’ve read, but who you know. In the Hogwarts-style dining hall, he can barely find someone to sit with — only a needy mathematics major. He has no earthly connection to the rest of the privileged, entitled (and in some cases, titled) student body, but aches to fit in.\u003c/p>\n\u003cp>And then aristocratic golden boy Felix appears, like a Greek god. Played by Jacob Elordi, currently appearing as Elvis in \u003cem>Priscilla\u003c/em>, Felix is gorgeous and effortlessly rakish; he seems to have never encountered hardship. Unless you count a flat tire on his bike, which is how Oliver meets him, lending his own bike so Felix can get to class.\u003c/p>\n\u003cp>The two become friends. It’s obvious what’s in it for Oliver, but what’s in it for Felix? That’s less clear, but Oliver’s home life has been hard. So, when Oliver tells Felix a tragedy has occurred involving his drug-addicted parents, Felix invites him to spend the summer at his family palace, er, home.\u003c/p>\n\u003cp>The family includes Felix’s beautiful but unstable sister, Venetia (Alison Oliver), his comically out-of-touch father, Sir James (Richard E. Grant, very funny), and the terrifically droll Pike as Elspeth, Felix’s glamorous, clueless mother. Also spending the summer is cousin Farleigh (Archie Madekwe, excellent) a Saltburn outsider himself — American-born, a person of color — but compared to Oliver an insider, which is crucial. The great Carey Mulligan, Oscar-nominated for \u003cem>Promising Young Woman\u003c/em>, has a welcome cameo as an unwelcome guest.\u003c/p>\n\u003cp>The early Saltburn days are intoxicating. Felix points out the various Rubens portraits, the original Shakespeare folios, that sort of thing. Days are spent lounging languidly on the lawn by the mossy pond. Dinner is black tie, so Oliver needs a loaner jacket and cufflinks. These people even play tennis in tuxes.\u003c/p>\n\u003cp>Then the really crazy stuff starts happening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13897161",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And we mean Fennell-level crazy. In \u003cem>Promising Young Woman\u003c/em> there was a slow burn to the \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">shocking, graphic ending\u003c/a>. Here, the shocks come early. A few involve bodily fluids. Fennell knows how to startle the most jaded of film audiences — guests at the screening I attended either gasped or giggled in embarrassment.\u003c/p>\n\u003cp>Fennell is also comfortable with the world she seeks to paint. Even if you didn’t know beforehand, it’s pretty clear from the vividly rendered Oxford scenes that the director attended Oxford herself, and her scenes of student life at that storied institution, seen through outsider Oliver, form the most authentic-feeling part of the film.\u003c/p>\n\u003cp>But how long will Oliver remain an outsider? Will this uncertain and complicated young man, who arrives at the Saltburn gates too early and too naive to have waited for the footmen to collect him at the station, ever fit in, something he covets above all else? That’s the question the rest of the movie answers, taking increasingly sinister twists and turns.\u003c/p>\n\u003cp>As if in a garden maze, perhaps? Like any self-respecting, spectacular period mansion, Saltburn has one of those, too, where some key action takes place. More broadly, though, the maze seems to symbolize the effect of this film: pretty, seductive, challenging, forbidding and ultimately confounding.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saltburn’ was released on Nov. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi",
"authors": [
"byline_arts_13938358"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_585"
],
"featImg": "arts_13938361",
"label": "arts_140"
},
"arts_13938332": {
"type": "posts",
"id": "arts_13938332",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938332",
"score": null,
"sort": [
1700582446000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1700582446,
"format": "standard",
"title": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity",
"headTitle": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity | KQED",
"content": "\u003cp>Several reels into Bradley Cooper’s manically over-orchestrated \u003cem>Maestro\u003c/em>, Mr. and Mrs. Leonard Bernstein (Cooper and Carey Mulligan) glide into their immaculate 1950s New York living room for a remote interview for CBS journalist Edward R. Murrow’s \u003ci>Person to Person\u003c/i> show.\u003c/p>\n\u003cp>We’re still in the black-and-white half of the film, and the alabaster curlicues spiraling from the century’s more stylish and dexterous chain-smokers distract momentarily from Murrow’s question about the attractions of composing versus conducting music. Be advised this is not an isolated occurrence: Every single shot in this movie calls attention to itself with the subtlety of a blast of French horns.\u003c/p>\n\u003cp>The crux of \u003cem>Maestro\u003c/em> lies in Bernstein’s answer. He describes composition as a creative, private act (in a word, art) and conducting as a public performance. Film directors who write their own screenplays (in a word, auteurs) frequently describe a similar dichotomy, with the “public” aspect consisting of collaboration in production.\u003c/p>\n\u003cfigure id=\"attachment_13938340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg\" alt=\"White man in dark suit and white woman in white dress sit on couch with cigarettes in hands\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bradley Cooper as Leonard Bernstein and Carey Mulligan as Felicia Montealegre in ‘Maestro,’ smoking, of course. \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper and co-screenwriter Josh Singer have conceived and structured \u003cem>Maestro\u003c/em> (opening Wednesday, Nov. 22 in theaters before debuting Dec. 20 on Netflix) to highlight the tensions and contradictions between the charismatic public figure of Leonard Bernstein — an ambitious and acclaimed wunderkind who became a full-fledged star and household name — and the private man: an artist frustrated by his insufficient number of high-art compositions, a loving husband and father, and a lover of men.\u003c/p>\n\u003cp>[aside postid='arts_13938358']That’s a symphony in itself, yet Cooper also ascribes near-equal prominence to Felicia Montealegre, the Costa Rican stage (and later, television) actress who was married to Lenny from 1951 to 1978. Presumably the filmmaker wants to avoid the misogynist (i.e., old-school) biopic portrayal of the wife as incidental to the main subject’s success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An admirable sentiment, but the screenplay’s vagueness about Felicia downplaying her ambitions (a mix of discomfort with the attention, I gathered, devotion to her husband’s rocketing career and the arrival of children) only thickens the movie’s photogenic muddle. Mulligan doesn’t seem to have a fix on the character either, showing off an assortment of tics and wigs, girlish giggles and demure smiles that obscure rather than reveal.\u003c/p>\n\u003cp>Much later, after our initial middling interest in Felicia has been stymied and squandered, Cooper provides Mulligan with any number of monologues and close-ups. The older Academy voters who stick around ‘til the end of the flamboyantly melodramatic \u003cem>Maestro\u003c/em> may be sufficiently moved to tip Mulligan in the Oscars sweepstakes, so there’s that.\u003c/p>\n\u003cfigure id=\"attachment_13938341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg\" alt=\"Woman in long light blue dress at top of stairs with busy wallpaper behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Felicia Montealegre in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which brings us to Bradley Cooper’s showy lead performance, a hyperactive and often entertaining fount of bravado that is inseparable from the movie. Cooper’s original impulse as a writer and director may have been to explore the yin and the yang of Bernstein’s public and private lives, but what emerges to define the film is a different tug of war — between art and ego.\u003c/p>\n\u003cp>I don’t think that’s the issue Cooper wants us to engage with, but by the end of \u003cem>Maestro\u003c/em> we can’t escape it. His character is in nearly every scene, and in almost every one of those scenes he is the focus and the engine. It’s all about him, even in those rare moments when he’s off-screen.\u003c/p>\n\u003cp>[aside postid='arts_13938168']To paraphrase Plato (or was it David O. Selznick?), must a movie about a narcissist be narcissistic? You may deduce I’m not entirely talking about Bernstein now. My problem with \u003cem>Maestro\u003c/em> is that I frequently couldn’t distinguish between the character and the director. That is, when the film thought it was telling us something about Bernstein I wondered if, in fact, Cooper’s choices — the composition of shots and the storytelling — were revealing more about himself.\u003c/p>\n\u003cp>Consider the numerous concert scenes populated by hundreds of people in various modes of dress. They aren’t presented as music lovers or art aficionados — the performances aren’t for or about them. They are staged as backdrops for Bernstein’s seemingly insatiable need.\u003c/p>\n\u003cp>At the same time, they are elaborate, expensive recreations filled with costumed extras hired to fulfill the director’s vision — or should I say ego? That I wasn’t completely certain that the purpose of those scenes was to convey Bernstein’s pleasure is a small problem.\u003c/p>\n\u003cfigure id=\"attachment_13938342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg\" alt=\"Full orchestra, two opera singers and conductor gesturing wide in front\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soloists Isabel Leonard and Rosa Feola with Bradley Cooper as Leonard Bernstein in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real Bernstein made a poignant appearance last year in \u003cem>Tár\u003c/em>, Todd Field’s galvanizing fictional portrait of a contemporary female conductor and composer (Cate Blanchett). Bernstein was cited as her beloved mentor, and at a low point she watches one of his Young People’s Concerts televised in the 1960s.\u003c/p>\n\u003cp>[aside postid='arts_13938143']Tár had been inspired by Bernstein’s talent for making classical music accessible to mass audiences, and especially by his ability to educate. After seeing \u003cem>Maestro\u003c/em>, though, it strikes me that Tár’s problems stemmed from her adopting Lenny’s sense of entitlement and impunity as well.\u003c/p>\n\u003cp>In \u003cem>Maestro\u003c/em>, Bernstein is not publicly bisexual but he is uncommonly indiscreet for a married man. Yet somehow Felicia is unaware until she catches him making out with a new arrival at a party several years into their marriage. (There are several party scenes, replete with cigarettes, if you want a hit of New York society at particular points in time.)\u003c/p>\n\u003cp>The movie doesn’t suggest that Bernstein has a strong sexual appetite, so it isn’t physical desire that drives him but the need to attract, seduce and dominate. And because he is Lenny, and he is widely acknowledged as a musical genius, all will be forgiven.\u003c/p>\n\u003cp>Ultimately, \u003cem>Maestro\u003c/em> is Cooper’s demand to be taken seriously as an artist (which was not Bernstein’s problem, to be clear). We haven’t seen a declaration quite like this from a Hollywood leading man who fancied himself an auteur since Warren Beatty, who at least had the ability to laugh at himself.\u003c/p>\n\u003cp>But why stop there? Cooper’s real inspiration isn’t Leonard Bernstein so much as Orson Welles, the original (aside from Chaplin) actor, writer and director. Welles had a pretty high opinion of himself, it must be said, though like Bernstein, he was an artist.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Maestro’ opens in theaters on Nov. 22 and streams on Netflix starting Dec. 20.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1165,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705003071,
"excerpt": "The actor, writer, director and producer’s showy biopic imagines Leonard Bernstein’s private and public lives.",
"headData": {
"twImgId": "",
"twTitle": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity",
"socialTitle": "‘Maestro’ Review: Bradley Cooper Is a Solid Conductor of Ego %%page%% %%sep%% KQED",
"ogTitle": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity",
"ogImgId": "",
"twDescription": "",
"description": "The actor, writer, director and producer’s showy biopic imagines Leonard Bernstein’s private and public lives.",
"title": "‘Maestro’ Review: Bradley Cooper Is a Solid Conductor of Ego | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity",
"datePublished": "2023-11-21T08:00:46-08:00",
"dateModified": "2024-01-11T11:57:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "maestro-bradley-cooper-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938332/maestro-bradley-cooper-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several reels into Bradley Cooper’s manically over-orchestrated \u003cem>Maestro\u003c/em>, Mr. and Mrs. Leonard Bernstein (Cooper and Carey Mulligan) glide into their immaculate 1950s New York living room for a remote interview for CBS journalist Edward R. Murrow’s \u003ci>Person to Person\u003c/i> show.\u003c/p>\n\u003cp>We’re still in the black-and-white half of the film, and the alabaster curlicues spiraling from the century’s more stylish and dexterous chain-smokers distract momentarily from Murrow’s question about the attractions of composing versus conducting music. Be advised this is not an isolated occurrence: Every single shot in this movie calls attention to itself with the subtlety of a blast of French horns.\u003c/p>\n\u003cp>The crux of \u003cem>Maestro\u003c/em> lies in Bernstein’s answer. He describes composition as a creative, private act (in a word, art) and conducting as a public performance. Film directors who write their own screenplays (in a word, auteurs) frequently describe a similar dichotomy, with the “public” aspect consisting of collaboration in production.\u003c/p>\n\u003cfigure id=\"attachment_13938340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg\" alt=\"White man in dark suit and white woman in white dress sit on couch with cigarettes in hands\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bradley Cooper as Leonard Bernstein and Carey Mulligan as Felicia Montealegre in ‘Maestro,’ smoking, of course. \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper and co-screenwriter Josh Singer have conceived and structured \u003cem>Maestro\u003c/em> (opening Wednesday, Nov. 22 in theaters before debuting Dec. 20 on Netflix) to highlight the tensions and contradictions between the charismatic public figure of Leonard Bernstein — an ambitious and acclaimed wunderkind who became a full-fledged star and household name — and the private man: an artist frustrated by his insufficient number of high-art compositions, a loving husband and father, and a lover of men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938358",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That’s a symphony in itself, yet Cooper also ascribes near-equal prominence to Felicia Montealegre, the Costa Rican stage (and later, television) actress who was married to Lenny from 1951 to 1978. Presumably the filmmaker wants to avoid the misogynist (i.e., old-school) biopic portrayal of the wife as incidental to the main subject’s success.\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>An admirable sentiment, but the screenplay’s vagueness about Felicia downplaying her ambitions (a mix of discomfort with the attention, I gathered, devotion to her husband’s rocketing career and the arrival of children) only thickens the movie’s photogenic muddle. Mulligan doesn’t seem to have a fix on the character either, showing off an assortment of tics and wigs, girlish giggles and demure smiles that obscure rather than reveal.\u003c/p>\n\u003cp>Much later, after our initial middling interest in Felicia has been stymied and squandered, Cooper provides Mulligan with any number of monologues and close-ups. The older Academy voters who stick around ‘til the end of the flamboyantly melodramatic \u003cem>Maestro\u003c/em> may be sufficiently moved to tip Mulligan in the Oscars sweepstakes, so there’s that.\u003c/p>\n\u003cfigure id=\"attachment_13938341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg\" alt=\"Woman in long light blue dress at top of stairs with busy wallpaper behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Felicia Montealegre in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which brings us to Bradley Cooper’s showy lead performance, a hyperactive and often entertaining fount of bravado that is inseparable from the movie. Cooper’s original impulse as a writer and director may have been to explore the yin and the yang of Bernstein’s public and private lives, but what emerges to define the film is a different tug of war — between art and ego.\u003c/p>\n\u003cp>I don’t think that’s the issue Cooper wants us to engage with, but by the end of \u003cem>Maestro\u003c/em> we can’t escape it. His character is in nearly every scene, and in almost every one of those scenes he is the focus and the engine. It’s all about him, even in those rare moments when he’s off-screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938168",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>To paraphrase Plato (or was it David O. Selznick?), must a movie about a narcissist be narcissistic? You may deduce I’m not entirely talking about Bernstein now. My problem with \u003cem>Maestro\u003c/em> is that I frequently couldn’t distinguish between the character and the director. That is, when the film thought it was telling us something about Bernstein I wondered if, in fact, Cooper’s choices — the composition of shots and the storytelling — were revealing more about himself.\u003c/p>\n\u003cp>Consider the numerous concert scenes populated by hundreds of people in various modes of dress. They aren’t presented as music lovers or art aficionados — the performances aren’t for or about them. They are staged as backdrops for Bernstein’s seemingly insatiable need.\u003c/p>\n\u003cp>At the same time, they are elaborate, expensive recreations filled with costumed extras hired to fulfill the director’s vision — or should I say ego? That I wasn’t completely certain that the purpose of those scenes was to convey Bernstein’s pleasure is a small problem.\u003c/p>\n\u003cfigure id=\"attachment_13938342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg\" alt=\"Full orchestra, two opera singers and conductor gesturing wide in front\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soloists Isabel Leonard and Rosa Feola with Bradley Cooper as Leonard Bernstein in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real Bernstein made a poignant appearance last year in \u003cem>Tár\u003c/em>, Todd Field’s galvanizing fictional portrait of a contemporary female conductor and composer (Cate Blanchett). Bernstein was cited as her beloved mentor, and at a low point she watches one of his Young People’s Concerts televised in the 1960s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938143",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Tár had been inspired by Bernstein’s talent for making classical music accessible to mass audiences, and especially by his ability to educate. After seeing \u003cem>Maestro\u003c/em>, though, it strikes me that Tár’s problems stemmed from her adopting Lenny’s sense of entitlement and impunity as well.\u003c/p>\n\u003cp>In \u003cem>Maestro\u003c/em>, Bernstein is not publicly bisexual but he is uncommonly indiscreet for a married man. Yet somehow Felicia is unaware until she catches him making out with a new arrival at a party several years into their marriage. (There are several party scenes, replete with cigarettes, if you want a hit of New York society at particular points in time.)\u003c/p>\n\u003cp>The movie doesn’t suggest that Bernstein has a strong sexual appetite, so it isn’t physical desire that drives him but the need to attract, seduce and dominate. And because he is Lenny, and he is widely acknowledged as a musical genius, all will be forgiven.\u003c/p>\n\u003cp>Ultimately, \u003cem>Maestro\u003c/em> is Cooper’s demand to be taken seriously as an artist (which was not Bernstein’s problem, to be clear). We haven’t seen a declaration quite like this from a Hollywood leading man who fancied himself an auteur since Warren Beatty, who at least had the ability to laugh at himself.\u003c/p>\n\u003cp>But why stop there? Cooper’s real inspiration isn’t Leonard Bernstein so much as Orson Welles, the original (aside from Chaplin) actor, writer and director. Welles had a pretty high opinion of himself, it must be said, though like Bernstein, he was an artist.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>\u003ci>‘Maestro’ opens in theaters on Nov. 22 and streams on Netflix starting Dec. 20.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938332/maestro-bradley-cooper-review",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_977",
"arts_585"
],
"featImg": "arts_13938339",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 600,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_13939092",
"arts_13939003",
"arts_13938942",
"arts_13938881",
"arts_13938158",
"arts_13938908",
"arts_13938620",
"arts_13938155",
"arts_13938585",
"arts_13938421",
"arts_13938358",
"arts_13938332"
],
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"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_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_11374": {
"type": "terms",
"id": "arts_11374",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11374",
"found": true
},
"relationships": {},
"featImg": null,
"name": "arts-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "arts-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11386,
"slug": "arts-featured",
"isLoading": false,
"link": "/arts/tag/arts-featured"
},
"arts_6425": {
"type": "terms",
"id": "arts_6425",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bandcamp",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bandcamp Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6437,
"slug": "bandcamp",
"isLoading": false,
"link": "/arts/tag/bandcamp"
},
"arts_21777": {
"type": "terms",
"id": "arts_21777",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21777",
"found": true
},
"relationships": {},
"featImg": null,
"name": "best of 2023",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "best of 2023 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21789,
"slug": "best-of-2023",
"isLoading": false,
"link": "/arts/tag/best-of-2023"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"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_5544": {
"type": "terms",
"id": "arts_5544",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5544",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movie theaters",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movie theaters Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5556,
"slug": "movie-theaters",
"isLoading": false,
"link": "/arts/tag/movie-theaters"
},
"arts_1551": {
"type": "terms",
"id": "arts_1551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1551",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland a's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland a's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1563,
"slug": "oakland-as",
"isLoading": false,
"link": "/arts/tag/oakland-as"
},
"arts_2137": {
"type": "terms",
"id": "arts_2137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2137",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social media",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social media Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2149,
"slug": "social-media",
"isLoading": false,
"link": "/arts/tag/social-media"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_1553": {
"type": "terms",
"id": "arts_1553",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1553",
"found": true
},
"relationships": {},
"featImg": null,
"name": "twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1565,
"slug": "twitter",
"isLoading": false,
"link": "/arts/tag/twitter"
},
"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_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_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"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_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_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"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_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_21780": {
"type": "terms",
"id": "arts_21780",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21780",
"found": true
},
"relationships": {},
"featImg": null,
"name": "greta gerwig",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "greta gerwig Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21792,
"slug": "greta-gerwig",
"isLoading": false,
"link": "/arts/tag/greta-gerwig"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_3772": {
"type": "terms",
"id": "arts_3772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3772",
"found": true
},
"relationships": {},
"name": "SFFILM",
"slug": "sffilm",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "SFFILM | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3784,
"isLoading": false,
"link": "/arts/tag/sffilm"
},
"arts_1040": {
"type": "terms",
"id": "arts_1040",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1040",
"found": true
},
"relationships": {},
"featImg": null,
"name": "YBCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "YBCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1057,
"slug": "ybca",
"isLoading": false,
"link": "/arts/tag/ybca"
},
"arts_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_925": {
"type": "terms",
"id": "arts_925",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "925",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 943,
"slug": "pop",
"isLoading": false,
"link": "/arts/tag/pop"
},
"arts_8404": {
"type": "terms",
"id": "arts_8404",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8404",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Showtime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Showtime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8416,
"slug": "showtime",
"isLoading": false,
"link": "/arts/tag/showtime"
},
"arts_21762": {
"type": "terms",
"id": "arts_21762",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21762",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Islam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Islam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21774,
"slug": "islam",
"isLoading": false,
"link": "/arts/tag/islam"
},
"arts_9222": {
"type": "terms",
"id": "arts_9222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple TV+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple TV+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9234,
"slug": "apple-tv",
"isLoading": false,
"link": "/arts/tag/apple-tv"
},
"arts_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"
}
},
"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
}
}
