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_13931688": {
"type": "attachments",
"id": "arts_13931688",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931688",
"found": true
},
"parent": 13931677,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png",
"width": 160,
"mimeType": "image/png",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png",
"width": 1804,
"height": 1182
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png",
"width": 1020,
"mimeType": "image/png",
"height": 668
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png",
"width": 1536,
"mimeType": "image/png",
"height": 1006
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png",
"width": 800,
"mimeType": "image/png",
"height": 524
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png",
"width": 768,
"mimeType": "image/png",
"height": 503
}
},
"publishDate": 1689369942,
"modified": 1689370189,
"caption": "The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig.",
"description": null,
"title": "The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig.",
"credit": "Warner Bros. Media",
"status": "inherit",
"altTag": "A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931602": {
"type": "attachments",
"id": "arts_13931602",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931602",
"found": true
},
"parent": 13931594,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_Beach_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1689286574,
"modified": 1689288245,
"caption": "A man does push-ups at the water’s edge at Brighton Beach next to a binaural microphone in a scene from '32 Sounds.'",
"description": null,
"title": "32Sounds_Beach_COVER",
"credit": "32 Sounds",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13931578": {
"type": "attachments",
"id": "arts_13931578",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931578",
"found": true
},
"parent": 13931577,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png",
"width": 1878,
"height": 1168
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png",
"width": 1020,
"mimeType": "image/png",
"height": 634
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png",
"width": 1536,
"mimeType": "image/png",
"height": 955
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png",
"width": 800,
"mimeType": "image/png",
"height": 498
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png",
"width": 768,
"mimeType": "image/png",
"height": 478
}
},
"publishDate": 1689273927,
"modified": 1689274044,
"caption": "Cillian Murphy stars in ‘Oppenheimer.’",
"description": null,
"title": "Cillian Murphy stars in ‘Oppenheimer.’",
"credit": "Syncopy/ Universal",
"status": "inherit",
"altTag": "A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931546": {
"type": "attachments",
"id": "arts_13931546",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931546",
"found": true
},
"parent": 13931543,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM.png",
"width": 1486,
"height": 950
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM-1020x652.png",
"width": 1020,
"mimeType": "image/png",
"height": 652
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM-800x511.png",
"width": 800,
"mimeType": "image/png",
"height": 511
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-12-at-2.44.20-PM-768x491.png",
"width": 768,
"mimeType": "image/png",
"height": 491
}
},
"publishDate": 1689198279,
"modified": 1689198492,
"caption": "‘20 Days in Mariupol’ is a stark and unflinching portrait of the invasion of Ukraine.",
"description": null,
"title": "‘20 Days in Mariupol’ is a stark and unflinching portrait of the invasion of Ukraine.",
"credit": "‘20 Days in Mariupol’",
"status": "inherit",
"altTag": "A man wearing a helmet and flak jacket marked 'PRESS' tentatively walks through a foggy, desolate landscape surrounded by debris, next to a bare tree. He is holding a camera with a long lens.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931441": {
"type": "attachments",
"id": "arts_13931441",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931441",
"found": true
},
"parent": 13931440,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1689055445,
"modified": 1689056856,
"caption": "Cheryl Dunye’s 1996 debut, ‘The Watermelon Woman,’ is being added to the Criterion Collection. It's a long overdue honor for the filmmaker who shaped how Black LGBTQ+ stories are told.",
"description": null,
"title": "Cheryl Dunye’s 1996 debut, ‘The Watermelon Woman,’ is being added to the Criterion Collection. It's a long overdue honor for the filmmaker who shaped how Black LGBTQ+ stories are told.",
"credit": "Jamie Hopper",
"status": "inherit",
"altTag": "A Black woman sits against a white wall wearing a white buttoned up shirt, small, round, green eye glasses and a red beanie. She rests one finger under her chin.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931425": {
"type": "attachments",
"id": "arts_13931425",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931425",
"found": true
},
"parent": 13931405,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER.jpg",
"width": 1144,
"height": 644
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCut2_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1689021497,
"modified": 1689021562,
"caption": "Jordan Peele’s ‘Nope’ screens at The Cut Outdoor Cinema at the site of the former temporary Transbay Terminal.",
"description": null,
"title": "TheCut2_COVER",
"credit": "Noise Pop",
"status": "inherit",
"altTag": "Outdoor movie screen with cowboy image and audience laying on colorful beanbags under blankets",
"isLoading": false,
"fetchFailed": false
},
"arts_13931368": {
"type": "attachments",
"id": "arts_13931368",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931368",
"found": true
},
"parent": 13931346,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1.jpg",
"width": 1088,
"height": 726
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1-1020x681.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 681
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/1-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1688766093,
"modified": 1688766201,
"caption": "The Newark Eagles in 1936, in a still from 'The League.'",
"description": null,
"title": "1",
"credit": "Yale University Art Gallery/Magnolia Pictures",
"status": "inherit",
"altTag": "a black and white photo shows six Black men in baseball uniforms from the Negro League cheering in a dugout",
"isLoading": false,
"fetchFailed": false
},
"arts_13931289": {
"type": "attachments",
"id": "arts_13931289",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931289",
"found": true
},
"parent": 13931287,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack.png",
"width": 1808,
"height": 1148
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-1020x648.png",
"width": 1020,
"mimeType": "image/png",
"height": 648
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-1536x975.png",
"width": 1536,
"mimeType": "image/png",
"height": 975
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-800x508.png",
"width": 800,
"mimeType": "image/png",
"height": 508
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/daryl-mccormack-768x488.png",
"width": 768,
"mimeType": "image/png",
"height": 488
}
},
"publishDate": 1688702093,
"modified": 1688702198,
"caption": "Daryl McCormack stars in ‘The Lesson’ as an aspiring young writer and tutor.",
"description": null,
"title": "Daryl McCormack stars in ‘The Lesson’ as an aspiring young writer and tutor.",
"credit": "Bleecker Street",
"status": "inherit",
"altTag": "A very attractive mixed race man in his twenties glances up from an open book at a kitchen table. A lush garden is visible through the windows behind him.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931228": {
"type": "attachments",
"id": "arts_13931228",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931228",
"found": true
},
"parent": 13931227,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1688660995,
"modified": 1688661647,
"caption": "Sabrina Wu as Deadeye, Ashley Park as Audrey, Sherry Cola as Lolo, and Stephanie Hsu as Kat in Joy Ride. Photo Credit: ",
"description": null,
"title": "Deadeye (Sabrina Wu), left, Audrey (Ashley Park), Lolo (Sherry Cola) and Kat (Stephanie Hsu) in ’Joy Ride.’",
"credit": "Ed Araquel",
"status": "inherit",
"altTag": "A nonbinary Asian person stands in the middle of a battered road alongside three Asian women. All four of them look very worried about what they see ahead of them.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931190": {
"type": "attachments",
"id": "arts_13931190",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931190",
"found": true
},
"parent": 13931189,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934.jpg",
"width": 1920,
"height": 1285
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-2048x1371.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1371
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-1020x683.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 683
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-1536x1028.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1028
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-1920x1285.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1285
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-768x514.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 514
}
},
"publishDate": 1688422294,
"modified": 1688422926,
"caption": "Orson Welles in London, May 1973.",
"description": null,
"title": "Orson Welles in London, May 1973.",
"credit": "Len Trievnor/Express/Hulton Archive/Getty Images",
"status": "inherit",
"altTag": "A senior white man of large stature holds a cigar in his mouth and glances off to the side. He is wearing a suit and has a white beard.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931088": {
"type": "attachments",
"id": "arts_13931088",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931088",
"found": true
},
"parent": 13930824,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM.png",
"width": 1934,
"height": 1282
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-1020x676.png",
"width": 1020,
"mimeType": "image/png",
"height": 676
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-1536x1018.png",
"width": 1536,
"mimeType": "image/png",
"height": 1018
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-1920x1273.png",
"width": 1920,
"mimeType": "image/png",
"height": 1273
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-800x530.png",
"width": 800,
"mimeType": "image/png",
"height": 530
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-30-at-2.16.44-AM-768x509.png",
"width": 768,
"mimeType": "image/png",
"height": 509
}
},
"publishDate": 1688116625,
"modified": 1688116730,
"caption": "RIver Gallo — one of the intersex subjects of new documentary ‘Every Body’ — receives a kiss from a friend. ",
"description": null,
"title": "RIver Gallo — one of the intersex subjects of new documentary ‘Every Body’ — receives a kiss from a friend.",
"credit": "‘Every Body’/ Focus Features",
"status": "inherit",
"altTag": "An ambiguously gendered person with shoulder length brown hair and a big smile is kissed on the cheek by a female friend with long dark hair.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931033": {
"type": "attachments",
"id": "arts_13931033",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931033",
"found": true
},
"parent": 13931031,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-160x103.png",
"width": 160,
"mimeType": "image/png",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM.png",
"width": 1776,
"height": 1144
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-1020x657.png",
"width": 1020,
"mimeType": "image/png",
"height": 657
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-1536x989.png",
"width": 1536,
"mimeType": "image/png",
"height": 989
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-800x515.png",
"width": 800,
"mimeType": "image/png",
"height": 515
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-10.59.32-PM-768x495.png",
"width": 768,
"mimeType": "image/png",
"height": 495
}
},
"publishDate": 1688018557,
"modified": 1688018735,
"caption": "Production on ‘The Penguin’ — Max's new Batman spin-off series starring Colin Farrell — has been halted because of the ongoing writers’ strike.",
"description": null,
"title": "Production on ‘The Penguin’ — Max's new Batman spin-off series starring Colin Farrell — has been halted because of the ongoing writers’ strike.",
"credit": "‘The Penguin’/ Max",
"status": "inherit",
"altTag": "The silhouette of a man wearing an overcoat standing in large windows at dusk, a dramatic bridge in the background.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13931677": {
"type": "authors",
"id": "byline_arts_13931677",
"meta": {
"override": true
},
"slug": "byline_arts_13931677",
"name": "Lindsey Bahr",
"isLoading": false
},
"byline_arts_13931577": {
"type": "authors",
"id": "byline_arts_13931577",
"meta": {
"override": true
},
"slug": "byline_arts_13931577",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13931543": {
"type": "authors",
"id": "byline_arts_13931543",
"meta": {
"override": true
},
"slug": "byline_arts_13931543",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13931440": {
"type": "authors",
"id": "byline_arts_13931440",
"meta": {
"override": true
},
"slug": "byline_arts_13931440",
"name": "Allyson McCabe",
"isLoading": false
},
"byline_arts_13931287": {
"type": "authors",
"id": "byline_arts_13931287",
"meta": {
"override": true
},
"slug": "byline_arts_13931287",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13931227": {
"type": "authors",
"id": "byline_arts_13931227",
"meta": {
"override": true
},
"slug": "byline_arts_13931227",
"name": "Justin Chang",
"isLoading": false
},
"byline_arts_13931189": {
"type": "authors",
"id": "byline_arts_13931189",
"meta": {
"override": true
},
"slug": "byline_arts_13931189",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13931031": {
"type": "authors",
"id": "byline_arts_13931031",
"meta": {
"override": true
},
"slug": "byline_arts_13931031",
"name": "Mandalit del Barco",
"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"
},
"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"
},
"bshoot": {
"type": "authors",
"id": "11715",
"meta": {
"index": "authors_1716337520",
"id": "11715",
"found": true
},
"name": "Britta Shoot",
"firstName": "Britta",
"lastName": "Shoot",
"slug": "bshoot",
"email": "workywork@brittashoot.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Britta Shoot is a writer and editor in San Francisco.",
"avatar": "https://secure.gravatar.com/avatar/acc24724f6e238cb6a6dc3b611340c2c?s=600&d=blank&r=g",
"twitter": "brittashoot",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Britta Shoot | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/acc24724f6e238cb6a6dc3b611340c2c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/acc24724f6e238cb6a6dc3b611340c2c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bshoot"
}
},
"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": 58
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 58
}
},
{
"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_13931677": {
"type": "posts",
"id": "arts_13931677",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931677",
"score": null,
"sort": [
1689370677000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1689370677,
"format": "standard",
"title": "The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown",
"headTitle": "The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown | KQED",
"content": "\u003cp>The very online showdown between Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003cem>Oppenheimer\u003c/em> all started with a date: July 21.\u003c/p>\n\u003cp>It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.\u003c/p>\n\u003cp>https://twitter.com/paperssil/status/1677313645565427713\u003c/p>\n\u003cp>There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”\u003c/p>\n\u003cp>It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/stevereevesart/status/1678808000566530048\u003c/p>\n\u003cp>https://twitter.com/balumcarnes/status/1679397880753258500\u003c/p>\n\u003cp>https://twitter.com/alex_icon/status/1678969487469555712\u003c/p>\n\u003cp>Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.\u003c/p>\n\u003cp>“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”\u003c/p>\n\u003cp>AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.\u003c/p>\n\u003cp>“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with \u003cem>Barbie\u003c/em>, then go straight into \u003cem>Oppenheimer\u003c/em> and then a \u003cem>Barbie\u003c/em> chaser.”\u003c/p>\n\u003cp>[aside postid='arts_13931577']Cruise — whose \u003cem>Mission: Impossible – Dead Reckoning Part One\u003c/em> opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with \u003cem>Oppenheimer\u003c/em>, which seems to be the internet’s preferred viewing order as well.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> actor Issa Rae thinks there’s a reason for that.\u003c/p>\n\u003cp>“I think that there’s a very specific order that if you see them in. If you see \u003cem>Oppenheimer\u003c/em> last then you might be a bit of a psychopath,” she diagnosed at the London premiere.\u003c/p>\n\u003cp>The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.\u003c/p>\n\u003cp>One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the \u003cem>Barbie\u003c/em> campaign can go nuclear.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cum6kABPqMl/\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.\u003c/p>\n\u003cp>Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped \u003cem>Barbie\u003c/em> on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including \u003cem>Inception\u003c/em> and \u003cem>Dunkirk\u003c/em>. He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made \u003cem>Oppenheimer\u003c/em> with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.\u003c/p>\n\u003cp>[aside postid='arts_13931227']There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.\u003c/p>\n\u003cp>And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest \u003cem>Mission: Impossible\u003c/em> was going to lose its IMAX screens to \u003cem>Oppenheimer\u003c/em> after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, holding tickets for each.\u003c/p>\n\u003cp>“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.\u003c/p>\n\u003cfigure id=\"attachment_13931683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg\" alt=\"A beautiful blonde woman smiles in the sunshine on a red carpet, wearing a black strapless dress, long gloves and pearl necklace. Behind her is a pink and white Barbie logo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie at the world premiere of ‘Barbie’ in Los Angeles. \u003ccite>(Eric Charbonneau/ Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The official accounts for \u003cem>Indiana Jones\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official \u003cem>Oppenheimer\u003c/em> Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing \u003cem>Barbie\u003c/em>. The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.\u003c/p>\n\u003cp>“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”\u003c/p>\n\u003cp>Still, everyone likes a No. 1 debut, and both \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, \u003cem>Barbie\u003c/em> has it in the bag with forecasts showing that it could open above $90 million in North America. \u003cem>Oppenheimer\u003c/em> meanwhile is tracking in the $40 million range. Then there’s the wild card of \u003cem>Mission: Impossible 7\u003c/em>’s second weekend, which could snag second place.\u003c/p>\n\u003cfigure id=\"attachment_13931687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/CM-800x514.png\" alt=\"A white man with chiseled features stands in an office hallway wearing a grey suit and tie and gazing off to one side.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM.png 1652w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy, starring in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still even with a second- or third-place start, \u003cem>Oppenheimer\u003c/em> could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.\u003c/p>\n\u003cp>[aside postid='arts_13931287']Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: \u003cem>The Dark Knight\u003c/em> and \u003cem>Mamma Mia!\u003c/em> — both of which went on to be enormously profitable (though Nolan did win the first weekend).\u003c/p>\n\u003cp>The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.\u003c/p>\n\u003cp>But with just over a week to go, it’s still a source of amusement. Even \u003cem>Barbie\u003c/em> co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.\u003c/p>\n\u003cp>“I think the world maybe wants to see \u003cem>Barbie\u003c/em> a little bit more right now,” Ferrell said. “Just saying!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1404,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1705005269,
"excerpt": "Memes, artwork, fake trailers and merch featuring ‘Barbie’ and ‘Oppenheimer’ mashups are everywhere right now.",
"headData": {
"twImgId": "",
"twTitle": "The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown",
"socialTitle": "Barbenheimer and the Box Office Battle of the Summer %%page%% %%sep%% KQED",
"ogTitle": "The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown",
"ogImgId": "",
"twDescription": "",
"description": "Memes, artwork, fake trailers and merch featuring ‘Barbie’ and ‘Oppenheimer’ mashups are everywhere right now.",
"title": "Barbenheimer and the Box Office Battle of the Summer | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown",
"datePublished": "2023-07-14T14:37:57-07:00",
"dateModified": "2024-01-11T12:34:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan",
"status": "publish",
"templateType": "standard",
"nprByline": "Lindsey Bahr",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The very online showdown between Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003cem>Oppenheimer\u003c/em> all started with a date: July 21.\u003c/p>\n\u003cp>It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1677313645565427713"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”\u003c/p>\n\u003cp>It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1678808000566530048"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1679397880753258500"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1678969487469555712"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.\u003c/p>\n\u003cp>“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”\u003c/p>\n\u003cp>AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.\u003c/p>\n\u003cp>“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with \u003cem>Barbie\u003c/em>, then go straight into \u003cem>Oppenheimer\u003c/em> and then a \u003cem>Barbie\u003c/em> chaser.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Cruise — whose \u003cem>Mission: Impossible – Dead Reckoning Part One\u003c/em> opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with \u003cem>Oppenheimer\u003c/em>, which seems to be the internet’s preferred viewing order as well.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> actor Issa Rae thinks there’s a reason for that.\u003c/p>\n\u003cp>“I think that there’s a very specific order that if you see them in. If you see \u003cem>Oppenheimer\u003c/em> last then you might be a bit of a psychopath,” she diagnosed at the London premiere.\u003c/p>\n\u003cp>The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.\u003c/p>\n\u003cp>One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the \u003cem>Barbie\u003c/em> campaign can go nuclear.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/Cum6kABPqMl/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Oppenheimer\u003c/em> has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.\u003c/p>\n\u003cp>Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped \u003cem>Barbie\u003c/em> on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including \u003cem>Inception\u003c/em> and \u003cem>Dunkirk\u003c/em>. He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made \u003cem>Oppenheimer\u003c/em> with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931227",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.\u003c/p>\n\u003cp>And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest \u003cem>Mission: Impossible\u003c/em> was going to lose its IMAX screens to \u003cem>Oppenheimer\u003c/em> after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, holding tickets for each.\u003c/p>\n\u003cp>“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.\u003c/p>\n\u003cfigure id=\"attachment_13931683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg\" alt=\"A beautiful blonde woman smiles in the sunshine on a red carpet, wearing a black strapless dress, long gloves and pearl necklace. Behind her is a pink and white Barbie logo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie at the world premiere of ‘Barbie’ in Los Angeles. \u003ccite>(Eric Charbonneau/ Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The official accounts for \u003cem>Indiana Jones\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official \u003cem>Oppenheimer\u003c/em> Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing \u003cem>Barbie\u003c/em>. The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.\u003c/p>\n\u003cp>“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”\u003c/p>\n\u003cp>Still, everyone likes a No. 1 debut, and both \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, \u003cem>Barbie\u003c/em> has it in the bag with forecasts showing that it could open above $90 million in North America. \u003cem>Oppenheimer\u003c/em> meanwhile is tracking in the $40 million range. Then there’s the wild card of \u003cem>Mission: Impossible 7\u003c/em>’s second weekend, which could snag second place.\u003c/p>\n\u003cfigure id=\"attachment_13931687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/CM-800x514.png\" alt=\"A white man with chiseled features stands in an office hallway wearing a grey suit and tie and gazing off to one side.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM.png 1652w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy, starring in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still even with a second- or third-place start, \u003cem>Oppenheimer\u003c/em> could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931287",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: \u003cem>The Dark Knight\u003c/em> and \u003cem>Mamma Mia!\u003c/em> — both of which went on to be enormously profitable (though Nolan did win the first weekend).\u003c/p>\n\u003cp>The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.\u003c/p>\n\u003cp>But with just over a week to go, it’s still a source of amusement. Even \u003cem>Barbie\u003c/em> co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.\u003c/p>\n\u003cp>“I think the world maybe wants to see \u003cem>Barbie\u003c/em> a little bit more right now,” Ferrell said. “Just saying!”\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>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan",
"authors": [
"byline_arts_13931677"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_14639",
"arts_3114",
"arts_977",
"arts_3410",
"arts_21156",
"arts_5422"
],
"featImg": "arts_13931688",
"label": "arts"
},
"arts_13931594": {
"type": "posts",
"id": "arts_13931594",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931594",
"score": null,
"sort": [
1689288976000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1689288976,
"format": "standard",
"title": "In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time",
"headTitle": "In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time | KQED",
"content": "\u003cp>There are at least 32 potential stick-with-you moments in \u003ca href=\"https://samgreen.to/\">Sam Green\u003c/a>’s inventive and contemplative documentary \u003ci>\u003ca href=\"https://32sounds.com/\">32 Sounds\u003c/a>\u003c/i>. One might be the magic of the Foley artist at work: a person who uses everyday objects and their own body to create what we \u003ci>think\u003c/i> things should sound like on film. One might be the lonesome, futile mating call of the last of a species. Or the life-affirming and joyous beat of Donna Summer’s “\u003ca href=\"https://youtu.be/6S2n5Tbq_0s\">I Feel Love\u003c/a>.”\u003c/p>\n\u003cp>But the moment I’ve carried with me over the past year since first experiencing \u003ci>32 Sounds\u003c/i> comes from a quieter, more ordinary scene. In it, a child speaks to his adult self on a recording not meant to be heard until the year 2000, the audio equivalent of a time capsule. “Although you exist in a different time, I am talking to you through this machine,” young Edgar Choueiri says sometime around 1972, to his much-older self. “I hope you have remained like you were in the past. Like you were at age 11. And also, I hope you have made my dreams come true.”\u003c/p>\n\u003cp>Sound, this film repeatedly demonstrates, is transportive. \u003ci>32 Sound\u003c/i>’s cast of charming audio-adjacent characters are often shown simply listening to recordings, their bodies here and now, but their minds somewhere else entirely: at the bottom of a river, 50 years in the past, or in a country from which they have been exiled. We watch them absorb those noises and feel, through them, how incredibly powerful sound can be — in its absence or its presence — both socially and emotionally.\u003c/p>\n\u003cp>For only the second time since its February 2022 Stanford Live debut, Bay Area audiences have a chance to experience \u003ci>32 Sounds\u003c/i> in both its live and theatrical versions. Green is not an ordinary documentarian, but a creator of live films, events at which the constituent parts of a piece have been split out to make them visible and semi-spontaneous — narration here, score there, images projected above. As he explains by phone from New York, “There’s a kind of looseness that comes with a live event.” At the Stanford premiere, for example, a computer died on the spot, but was calmly switched out within minutes. For the audience, the combination of so many moving parts fosters a sense of risky thrill.\u003c/p>\n\u003cfigure id=\"attachment_13931603\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Director Sam Green stands with recording equipment in an anechoic chamber. \u003ccite>(Free History Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the live version of \u003ci>32 Sounds\u003c/i>, playing July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a>, Green will narrate his film in person. In both this and the versions playing July 28–30 at the Roxie, the Smith Rafael Film Center and the Rialto Cinemas Elmwood, some portions of the documentary are heard collectively in the theater while others come via binaural headphones handed out before each screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In lieu of their physical selves, a warm prerecorded greeting by Green and JD Samson (who did the film’s music) encourages audiences in the theatrical version to break out of their normal theater-going behavior and respond to interactive cues by dancing, closing their eyes or letting out a good, cathartic yell.\u003c/p>\n\u003cp>Coming off a nine-week theatrical run at New York’s Film Forum, Green says it’s tough to get people to disobey movie etiquette, even with a film that’s as self-reflexive as \u003ci>32 Sounds\u003c/i>. “Sometimes there’s got to be a real kooky person who will get up and dance, because there’s a kind of unspoken decorum in movie theaters,” he explains. “You’re not supposed to talk. You’re not supposed to get up. People will shush you if you do. So it takes a real weirdo to do that, but sometimes it happens!”\u003c/p>\n\u003cp>Green has made a practice out of breaking conventions, and even in the more traditional version of \u003ci>32 Sounds\u003c/i>, the interactive cues are meant to clue audiences into all the aspects of movie-making and movie-watching that often get willfully ignored.\u003c/p>\n\u003cfigure id=\"attachment_13931601\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg\" alt=\"Woman holds mic out of car window while a man drives at night in city\" width=\"1920\" height=\"1013\" class=\"size-full wp-image-13931601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1536x810.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sound recordist Laura Cunningham rides in Don Garcia’s car through the streets of Brooklyn while he plays Phil Collins’ ‘In the Air Tonight.’ \u003ccite>(32 Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In general, I like pulling the curtain back from the filmmaking process,” Green says. “There’s a lot of silly conventions of filmmaking where we’re all pretending this is not a movie, and we all know it’s a movie. Sometimes it’s nice to just admit it and kind of go from there.”\u003c/p>\n\u003cp>In \u003ci>32 Sounds\u003c/i>, this means direct references to the quality of a theater’s sound system, and how removed that is from the way we actually hear things near, far, up and down. It means showing shotgun mics and boom mics within a shot, along with the people who skillfully wield them. It’s a scene of Samson playing guitar while Green talks about the difficulty of scoring a film, of making a film, of making \u003ci>this\u003c/i> film.\u003c/p>\n\u003cp>The guiding philosophy of \u003ci>32 Sounds\u003c/i>’ non-narrative narrative comes from composer \u003ca href=\"https://www.annealockwood.com/\">Annea Lockwood\u003c/a>, a huge figure in the avant-garde music scene who has recorded rivers around the globe for 50 years, putting out albums like \u003ci>A Sound Map of the Hudson River\u003c/i> (1989). Her calm, eloquent wonder at the natural world, its sounds and secrets grounds the film in generous curiosity. And her approach to listening — to listen \u003ci>with\u003c/i> the world rather than \u003ci>to\u003c/i> it — is a stick-with-you moment that lasts well beyond the chirping crickets of the film’s final, beautiful scene.\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>\n\u003cp>\u003ci>‘32 Sounds’ plays July 27–30 at select Bay Area theaters. The live version plays at 7 p.m. on Thursday, July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a> with live narration by Sam Green. The theatrical versions play July 28–30 at the \u003ca href=\"https://rafaelfilm.cafilm.org/32-sounds/\">Smith Rafael Film Center\u003c/a>, the \u003ca href=\"https://roxie.com/film/32-sounds/\">Roxie Theater\u003c/a> and \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/\">Rialto Cinemas Elmwood\u003c/a> with Q&As with Sam Green after most screenings. Check each theater for screening details and tickets.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1043,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705005276,
"excerpt": "Viewers feel how incredibly powerful sound can be — in its absence or its presence — in this captivating documentary.",
"headData": {
"twImgId": "",
"twTitle": "In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time",
"socialTitle": "Inventive ‘32 Sounds’ Documentary Arrives in Bay Area Theaters %%page%% %%sep%% KQED",
"ogTitle": "In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time",
"ogImgId": "",
"twDescription": "",
"description": "Viewers feel how incredibly powerful sound can be — in its absence or its presence — in this captivating documentary.",
"title": "Inventive ‘32 Sounds’ Documentary Arrives in Bay Area Theaters | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time",
"datePublished": "2023-07-13T15:56:16-07:00",
"dateModified": "2024-01-11T12:34:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "32-sounds-sam-green-documentary-live-film",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13931594/32-sounds-sam-green-documentary-live-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are at least 32 potential stick-with-you moments in \u003ca href=\"https://samgreen.to/\">Sam Green\u003c/a>’s inventive and contemplative documentary \u003ci>\u003ca href=\"https://32sounds.com/\">32 Sounds\u003c/a>\u003c/i>. One might be the magic of the Foley artist at work: a person who uses everyday objects and their own body to create what we \u003ci>think\u003c/i> things should sound like on film. One might be the lonesome, futile mating call of the last of a species. Or the life-affirming and joyous beat of Donna Summer’s “\u003ca href=\"https://youtu.be/6S2n5Tbq_0s\">I Feel Love\u003c/a>.”\u003c/p>\n\u003cp>But the moment I’ve carried with me over the past year since first experiencing \u003ci>32 Sounds\u003c/i> comes from a quieter, more ordinary scene. In it, a child speaks to his adult self on a recording not meant to be heard until the year 2000, the audio equivalent of a time capsule. “Although you exist in a different time, I am talking to you through this machine,” young Edgar Choueiri says sometime around 1972, to his much-older self. “I hope you have remained like you were in the past. Like you were at age 11. And also, I hope you have made my dreams come true.”\u003c/p>\n\u003cp>Sound, this film repeatedly demonstrates, is transportive. \u003ci>32 Sound\u003c/i>’s cast of charming audio-adjacent characters are often shown simply listening to recordings, their bodies here and now, but their minds somewhere else entirely: at the bottom of a river, 50 years in the past, or in a country from which they have been exiled. We watch them absorb those noises and feel, through them, how incredibly powerful sound can be — in its absence or its presence — both socially and emotionally.\u003c/p>\n\u003cp>For only the second time since its February 2022 Stanford Live debut, Bay Area audiences have a chance to experience \u003ci>32 Sounds\u003c/i> in both its live and theatrical versions. Green is not an ordinary documentarian, but a creator of live films, events at which the constituent parts of a piece have been split out to make them visible and semi-spontaneous — narration here, score there, images projected above. As he explains by phone from New York, “There’s a kind of looseness that comes with a live event.” At the Stanford premiere, for example, a computer died on the spot, but was calmly switched out within minutes. For the audience, the combination of so many moving parts fosters a sense of risky thrill.\u003c/p>\n\u003cfigure id=\"attachment_13931603\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Director Sam Green stands with recording equipment in an anechoic chamber. \u003ccite>(Free History Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the live version of \u003ci>32 Sounds\u003c/i>, playing July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a>, Green will narrate his film in person. In both this and the versions playing July 28–30 at the Roxie, the Smith Rafael Film Center and the Rialto Cinemas Elmwood, some portions of the documentary are heard collectively in the theater while others come via binaural headphones handed out before each screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In lieu of their physical selves, a warm prerecorded greeting by Green and JD Samson (who did the film’s music) encourages audiences in the theatrical version to break out of their normal theater-going behavior and respond to interactive cues by dancing, closing their eyes or letting out a good, cathartic yell.\u003c/p>\n\u003cp>Coming off a nine-week theatrical run at New York’s Film Forum, Green says it’s tough to get people to disobey movie etiquette, even with a film that’s as self-reflexive as \u003ci>32 Sounds\u003c/i>. “Sometimes there’s got to be a real kooky person who will get up and dance, because there’s a kind of unspoken decorum in movie theaters,” he explains. “You’re not supposed to talk. You’re not supposed to get up. People will shush you if you do. So it takes a real weirdo to do that, but sometimes it happens!”\u003c/p>\n\u003cp>Green has made a practice out of breaking conventions, and even in the more traditional version of \u003ci>32 Sounds\u003c/i>, the interactive cues are meant to clue audiences into all the aspects of movie-making and movie-watching that often get willfully ignored.\u003c/p>\n\u003cfigure id=\"attachment_13931601\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg\" alt=\"Woman holds mic out of car window while a man drives at night in city\" width=\"1920\" height=\"1013\" class=\"size-full wp-image-13931601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1536x810.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sound recordist Laura Cunningham rides in Don Garcia’s car through the streets of Brooklyn while he plays Phil Collins’ ‘In the Air Tonight.’ \u003ccite>(32 Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In general, I like pulling the curtain back from the filmmaking process,” Green says. “There’s a lot of silly conventions of filmmaking where we’re all pretending this is not a movie, and we all know it’s a movie. Sometimes it’s nice to just admit it and kind of go from there.”\u003c/p>\n\u003cp>In \u003ci>32 Sounds\u003c/i>, this means direct references to the quality of a theater’s sound system, and how removed that is from the way we actually hear things near, far, up and down. It means showing shotgun mics and boom mics within a shot, along with the people who skillfully wield them. It’s a scene of Samson playing guitar while Green talks about the difficulty of scoring a film, of making a film, of making \u003ci>this\u003c/i> film.\u003c/p>\n\u003cp>The guiding philosophy of \u003ci>32 Sounds\u003c/i>’ non-narrative narrative comes from composer \u003ca href=\"https://www.annealockwood.com/\">Annea Lockwood\u003c/a>, a huge figure in the avant-garde music scene who has recorded rivers around the globe for 50 years, putting out albums like \u003ci>A Sound Map of the Hudson River\u003c/i> (1989). Her calm, eloquent wonder at the natural world, its sounds and secrets grounds the film in generous curiosity. And her approach to listening — to listen \u003ci>with\u003c/i> the world rather than \u003ci>to\u003c/i> it — is a stick-with-you moment that lasts well beyond the chirping crickets of the film’s final, beautiful scene.\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>\n\u003cp>\u003ci>‘32 Sounds’ plays July 27–30 at select Bay Area theaters. The live version plays at 7 p.m. on Thursday, July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a> with live narration by Sam Green. The theatrical versions play July 28–30 at the \u003ca href=\"https://rafaelfilm.cafilm.org/32-sounds/\">Smith Rafael Film Center\u003c/a>, the \u003ca href=\"https://roxie.com/film/32-sounds/\">Roxie Theater\u003c/a> and \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/\">Rialto Cinemas Elmwood\u003c/a> with Q&As with Sam Green after most screenings. Check each theater for screening details and tickets.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931594/32-sounds-sam-green-documentary-live-film",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_10342",
"arts_2483",
"arts_3163",
"arts_585"
],
"featImg": "arts_13931602",
"label": "arts_140"
},
"arts_13931577": {
"type": "posts",
"id": "arts_13931577",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931577",
"score": null,
"sort": [
1689274902000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1689274902,
"format": "standard",
"title": "In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults",
"headTitle": "In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults | KQED",
"content": "\u003cp>Christopher Nolan has never been one to take the easy or straightforward route while making a movie.\u003c/p>\n\u003cp>He shoots on large-format film with large, cumbersome cameras to get the best possible cinematic image. He prefers practical effects over computer-generated ones and real locations over soundstages — even when that means recreating an atomic explosion in the harsh winds of the New Mexico desert in the middle of the night for \u003cem>Oppenheimer\u003c/em>, out July 21.\u003c/p>\n\u003cp>Though, despite internet rumors, they did not detonate an actual nuclear weapon.\u003c/p>\n\u003cp>[aside postid='arts_13931543']And as for the biography that inspired his newest film, Kai Bird and Martin J. Sherwin’s riveting, linear narrative \u003cem>American Prometheus\u003c/em> was simply the starting point from which Nolan crafted a beguiling labyrinth of suspense and drama.\u003c/p>\n\u003cp>It’s why, in his two decades working in Hollywood, Nolan has become a franchise unto himself — the rare auteur writer-director who makes films that are both intellectually stimulating and commercial, accounting for more than $5 billion in box office receipts. That combination is part of the reason why he’s able to attract Oscar winners and movie stars not just to headline his films, but also to turn out for just a scene or two.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve all been so intoxicated by his films,” said Emily Blunt, who plays J. Robert Oppenheimer’s wife, Kitty. “That exploration of huge themes in an entertaining way doesn’t happen. It just doesn’t happen. That depth, the depth of the material, and yet on this massive epic scale.”\u003c/p>\n\u003cp>In the vast and complex story of the brilliant theoretical physicist who oversaw the Manhattan Project and the development of the atomic bomb during World War II, Nolan saw exciting possibilities to play with genre and form. There was the race to develop it before the Germans did, espionage, romance, domestic turmoil, a courtroom drama, bruised egos, political machinations, communist panic, and the burden of having created something that could destroy the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYPbbksJxIg\u003c/p>\n\u003cp>And then there was the man himself, beloved by most but hated by enough, who, after achieving icon status in American society, saw his reputation and sense of self annihilated by the very institutions that built him.\u003c/p>\n\u003cp>“It’s such an ambitious story to tell,” said Matt Damon, who plays Gen. Leslie Groves Jr. “Reading the script, I had the same feeling I had when I read \u003cem>Interstellar\u003c/em>, which was: ‘This is great. How the hell is he going to do this?’”\u003c/p>\n\u003cp>It’s not so disconnected from Nolan’s other films, either. As critic Tom Shone noted in his book about the director, “Looked at one way, Nolan’s films are all allegories of men who first find their salvation in structure only to find themselves betrayed or engulfed by it.”\u003c/p>\n\u003cp>[aside postid='arts_13931287']Nolan turned to Cillian Murphy to take on the gargantuan task of portraying Oppenheimer. Murphy had already acted in five Nolan films, including the Batman trilogy, \u003cem>Dunkirk\u003c/em> and \u003cem>Inception\u003c/em>, but this would be his first time as a lead — something he had secretly pined for.\u003c/p>\n\u003cp>“You feel a responsibility, but then a great hunger and excitement to try and do it, to see where you can get,” said Murphy, who prepped extensively for six months before filming, working closely with Nolan throughout. “It was an awful lot of work, but I loved it. There is this kind of frisson, this energy when you’re on a Chris Nolan set about the potential for what you’re going to achieve.”\u003c/p>\n\u003cfigure id=\"attachment_13931579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png\" alt=\"A man in a grey hat and suit looks off to one side. He is standing outside, wooden buildings visible behind him. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1020x661.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM.png 1868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would be an all-consuming role that would require some physical transformation to approximate that famously thin silhouette. A complex, contradictory figure, Oppenheimer emerged from a somewhat awkward youth to become a renaissance man who seemed to carry equal passion for the Bhagavad Gita, Proust, physics, languages, New Mexico, philosophical questions about disarmament and the perfectly mixed martini. But Murphy knew he was in safe hands with Nolan.\u003c/p>\n\u003cp>“He’s the most natural director I’ve ever worked with. And the notes that he gives to an actor are quite remarkable. How he can gently bring you to a different place with your performance is quite stunning in such a subtle, low-key, understated way,” Murphy said. “It can have a profound effect on the way you look at a scene from one take to another take.”\u003c/p>\n\u003cp>Nolan wrote the main timeline of the film in the first person, to represent Oppenheimer’s subjective experience.\u003c/p>\n\u003cp>[aside postid='arts_13931189']“We want to see everything through Oppenheimer’s point of view,” Nolan said. “That’s a huge challenge for an actor to take on because they’re having to worry about the performance, the truth of the performance, but also make sure that that’s always open to the audience.”\u003c/p>\n\u003cp>The other timeline, filmed in black and white, is more objective and focused on Lewis Strauss (Robert Downey Jr.), a founding member of the Atomic Energy Commission and a supporter of the development of the more destructive hydrogen bomb.\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> is Nolan’s first R-rated film since 2002’s \u003cem>Insomnia\u003c/em>, which after years of working exclusively in PG-13, he’s comfortable with. It fits the gravity of the material.\u003c/p>\n\u003cp>“We’re dealing with the most serious and adult story you could imagine — very important, dramatic events that changed the world and defined the world we live in today,” Nolan said. “You don’t want to compromise in any way.”\u003c/p>\n\u003cp>Much of the filming took place in New Mexico, including at the real Los Alamos laboratory where thousands of scientists, technicians and their families lived and worked for two years in the effort to develop the bomb. Nolan enlisted many of his frequent behind-the-scenes collaborators, including his wife and producer Emma Thomas, cinematographer Hoyte Van Hoytema, composer Ludwig Göransson and special effects supervisors Scott Fisher and Andrew Jackson, as well as some newcomers like production designer Ruth de Jong and costume designer Ellen Mirojnick to help bring this world to life.\u003c/p>\n\u003cp>“It was a very focused set — fun set as well, not too serious. But the work was serious, the sweating of the details was serious,” Blunt said. “Everyone needs to kind of match Chris’ excellence, or want to.”\u003c/p>\n\u003cfigure id=\"attachment_13931581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/matt-damon-800x496.png\" alt=\"A white man with a mustache sits in an office chair. He is wearing a military uniform, tie slightly undone.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1536x952.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Damon playing Gen. Leslie Groves Jr. in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it came to recreating the Trinity test, Oppenheimer’s chosen name for the first nuclear detonation, art and life blended in a visceral way.\u003c/p>\n\u003cp>“We wanted to put the audience there in that bunker,” Nolan said. “That meant really trying to make these things as beautiful and frightening and awe inspiring as they would have been to the people at the time.”\u003c/p>\n\u003cp>Though no real nukes were used, they did stage a lot of real explosions to approximate the blindingly bright atomic fire and mushroom cloud.\u003c/p>\n\u003cp>[aside postid='arts_13931405']“To do those safely in a real environment out in the nighttime desert, there’s a degree of discipline and focus and adrenaline and just executing that for the film that echoes and mirrors what these guys went through on the grandest scale in a really interesting way,” Nolan said. “I felt everybody had that very, very tight sense of tension and focus around all those shooting nights.”\u003c/p>\n\u003cp>The weather also “did what it needed to do, as per history,” Murphy said, as the wind picked up and whipped around the set.\u003c/p>\n\u003cp>“I’m rumored to be very lucky with the weather and it’s not the case. It’s just that we decide to shoot whatever the weather,” Nolan said. “In the case of the Trinity test, it was essential, central to the story that this big storm rolls in with tremendous drama. And it did. That really made the sequence come to life.”\u003c/p>\n\u003cp>He added: “The extremity of it put me very much in the mindset of what it must have been like for these guys. It really felt like we were out in it.”\u003c/p>\n\u003cp>Then, of course, there is the experience of watching \u003cem>Oppenheimer\u003c/em>.\u003c/p>\n\u003cp>“When you’re making a movie, I feel like you’re on the inside looking out,” Blunt said. “It’s really overwhelming to see it reflected back at you, especially one of this magnitude. … I just felt like my breastplate was going to shatter, it was so intense.”\u003c/p>\n\u003cfigure id=\"attachment_13931580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/emily-blunt-800x504.png\" alt=\"A woman in casual 1940s shirt and cardigan sweeps hair away from her face. Behind her is a laundry line covered in sheets.\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt.png 1566w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt stars as Kitty Oppenheimer. \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hope is that when \u003cem>Oppenheimer\u003c/em> is unleashed on the world, audiences will be as invested and will seek it out on the biggest screen they can find. The film has a run in IMAX theaters around the country, not something often afforded serious-minded, R-rated movies in the middle of the busy summer season. But this is also the essential Nolan impossibility. As more and more auteurs have had to compromise — to either go smaller or team with streamers to get the kind of budget they might once have had at studios, like even Ridley Scott and Martin Scorsese have had to do this year — Nolan continues to make his movies on the grandest scale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Each of his films has been revolutionary in their own way,” Murphy said. “It’s an event every time he releases a film, and rightly so.”\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1653,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 34
},
"modified": 1705005278,
"excerpt": "As more and more auteurs have had to compromise, Nolan continues to make his movies on the grandest scale.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As more and more auteurs have had to compromise, Nolan continues to make his movies on the grandest scale.",
"title": "In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults",
"datePublished": "2023-07-13T12:01:42-07:00",
"dateModified": "2024-01-11T12:34:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults",
"status": "publish",
"templateType": "standard",
"nprByline": "Lindsey Bahr, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christopher Nolan has never been one to take the easy or straightforward route while making a movie.\u003c/p>\n\u003cp>He shoots on large-format film with large, cumbersome cameras to get the best possible cinematic image. He prefers practical effects over computer-generated ones and real locations over soundstages — even when that means recreating an atomic explosion in the harsh winds of the New Mexico desert in the middle of the night for \u003cem>Oppenheimer\u003c/em>, out July 21.\u003c/p>\n\u003cp>Though, despite internet rumors, they did not detonate an actual nuclear weapon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931543",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And as for the biography that inspired his newest film, Kai Bird and Martin J. Sherwin’s riveting, linear narrative \u003cem>American Prometheus\u003c/em> was simply the starting point from which Nolan crafted a beguiling labyrinth of suspense and drama.\u003c/p>\n\u003cp>It’s why, in his two decades working in Hollywood, Nolan has become a franchise unto himself — the rare auteur writer-director who makes films that are both intellectually stimulating and commercial, accounting for more than $5 billion in box office receipts. That combination is part of the reason why he’s able to attract Oscar winners and movie stars not just to headline his films, but also to turn out for just a scene or two.\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’ve all been so intoxicated by his films,” said Emily Blunt, who plays J. Robert Oppenheimer’s wife, Kitty. “That exploration of huge themes in an entertaining way doesn’t happen. It just doesn’t happen. That depth, the depth of the material, and yet on this massive epic scale.”\u003c/p>\n\u003cp>In the vast and complex story of the brilliant theoretical physicist who oversaw the Manhattan Project and the development of the atomic bomb during World War II, Nolan saw exciting possibilities to play with genre and form. There was the race to develop it before the Germans did, espionage, romance, domestic turmoil, a courtroom drama, bruised egos, political machinations, communist panic, and the burden of having created something that could destroy the world.\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/uYPbbksJxIg'\n title='//www.youtube.com/embed/uYPbbksJxIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then there was the man himself, beloved by most but hated by enough, who, after achieving icon status in American society, saw his reputation and sense of self annihilated by the very institutions that built him.\u003c/p>\n\u003cp>“It’s such an ambitious story to tell,” said Matt Damon, who plays Gen. Leslie Groves Jr. “Reading the script, I had the same feeling I had when I read \u003cem>Interstellar\u003c/em>, which was: ‘This is great. How the hell is he going to do this?’”\u003c/p>\n\u003cp>It’s not so disconnected from Nolan’s other films, either. As critic Tom Shone noted in his book about the director, “Looked at one way, Nolan’s films are all allegories of men who first find their salvation in structure only to find themselves betrayed or engulfed by it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931287",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Nolan turned to Cillian Murphy to take on the gargantuan task of portraying Oppenheimer. Murphy had already acted in five Nolan films, including the Batman trilogy, \u003cem>Dunkirk\u003c/em> and \u003cem>Inception\u003c/em>, but this would be his first time as a lead — something he had secretly pined for.\u003c/p>\n\u003cp>“You feel a responsibility, but then a great hunger and excitement to try and do it, to see where you can get,” said Murphy, who prepped extensively for six months before filming, working closely with Nolan throughout. “It was an awful lot of work, but I loved it. There is this kind of frisson, this energy when you’re on a Chris Nolan set about the potential for what you’re going to achieve.”\u003c/p>\n\u003cfigure id=\"attachment_13931579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png\" alt=\"A man in a grey hat and suit looks off to one side. He is standing outside, wooden buildings visible behind him. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1020x661.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM.png 1868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would be an all-consuming role that would require some physical transformation to approximate that famously thin silhouette. A complex, contradictory figure, Oppenheimer emerged from a somewhat awkward youth to become a renaissance man who seemed to carry equal passion for the Bhagavad Gita, Proust, physics, languages, New Mexico, philosophical questions about disarmament and the perfectly mixed martini. But Murphy knew he was in safe hands with Nolan.\u003c/p>\n\u003cp>“He’s the most natural director I’ve ever worked with. And the notes that he gives to an actor are quite remarkable. How he can gently bring you to a different place with your performance is quite stunning in such a subtle, low-key, understated way,” Murphy said. “It can have a profound effect on the way you look at a scene from one take to another take.”\u003c/p>\n\u003cp>Nolan wrote the main timeline of the film in the first person, to represent Oppenheimer’s subjective experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We want to see everything through Oppenheimer’s point of view,” Nolan said. “That’s a huge challenge for an actor to take on because they’re having to worry about the performance, the truth of the performance, but also make sure that that’s always open to the audience.”\u003c/p>\n\u003cp>The other timeline, filmed in black and white, is more objective and focused on Lewis Strauss (Robert Downey Jr.), a founding member of the Atomic Energy Commission and a supporter of the development of the more destructive hydrogen bomb.\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> is Nolan’s first R-rated film since 2002’s \u003cem>Insomnia\u003c/em>, which after years of working exclusively in PG-13, he’s comfortable with. It fits the gravity of the material.\u003c/p>\n\u003cp>“We’re dealing with the most serious and adult story you could imagine — very important, dramatic events that changed the world and defined the world we live in today,” Nolan said. “You don’t want to compromise in any way.”\u003c/p>\n\u003cp>Much of the filming took place in New Mexico, including at the real Los Alamos laboratory where thousands of scientists, technicians and their families lived and worked for two years in the effort to develop the bomb. Nolan enlisted many of his frequent behind-the-scenes collaborators, including his wife and producer Emma Thomas, cinematographer Hoyte Van Hoytema, composer Ludwig Göransson and special effects supervisors Scott Fisher and Andrew Jackson, as well as some newcomers like production designer Ruth de Jong and costume designer Ellen Mirojnick to help bring this world to life.\u003c/p>\n\u003cp>“It was a very focused set — fun set as well, not too serious. But the work was serious, the sweating of the details was serious,” Blunt said. “Everyone needs to kind of match Chris’ excellence, or want to.”\u003c/p>\n\u003cfigure id=\"attachment_13931581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/matt-damon-800x496.png\" alt=\"A white man with a mustache sits in an office chair. He is wearing a military uniform, tie slightly undone.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1536x952.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Damon playing Gen. Leslie Groves Jr. in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it came to recreating the Trinity test, Oppenheimer’s chosen name for the first nuclear detonation, art and life blended in a visceral way.\u003c/p>\n\u003cp>“We wanted to put the audience there in that bunker,” Nolan said. “That meant really trying to make these things as beautiful and frightening and awe inspiring as they would have been to the people at the time.”\u003c/p>\n\u003cp>Though no real nukes were used, they did stage a lot of real explosions to approximate the blindingly bright atomic fire and mushroom cloud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931405",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“To do those safely in a real environment out in the nighttime desert, there’s a degree of discipline and focus and adrenaline and just executing that for the film that echoes and mirrors what these guys went through on the grandest scale in a really interesting way,” Nolan said. “I felt everybody had that very, very tight sense of tension and focus around all those shooting nights.”\u003c/p>\n\u003cp>The weather also “did what it needed to do, as per history,” Murphy said, as the wind picked up and whipped around the set.\u003c/p>\n\u003cp>“I’m rumored to be very lucky with the weather and it’s not the case. It’s just that we decide to shoot whatever the weather,” Nolan said. “In the case of the Trinity test, it was essential, central to the story that this big storm rolls in with tremendous drama. And it did. That really made the sequence come to life.”\u003c/p>\n\u003cp>He added: “The extremity of it put me very much in the mindset of what it must have been like for these guys. It really felt like we were out in it.”\u003c/p>\n\u003cp>Then, of course, there is the experience of watching \u003cem>Oppenheimer\u003c/em>.\u003c/p>\n\u003cp>“When you’re making a movie, I feel like you’re on the inside looking out,” Blunt said. “It’s really overwhelming to see it reflected back at you, especially one of this magnitude. … I just felt like my breastplate was going to shatter, it was so intense.”\u003c/p>\n\u003cfigure id=\"attachment_13931580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/emily-blunt-800x504.png\" alt=\"A woman in casual 1940s shirt and cardigan sweeps hair away from her face. Behind her is a laundry line covered in sheets.\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt.png 1566w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt stars as Kitty Oppenheimer. \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hope is that when \u003cem>Oppenheimer\u003c/em> is unleashed on the world, audiences will be as invested and will seek it out on the biggest screen they can find. The film has a run in IMAX theaters around the country, not something often afforded serious-minded, R-rated movies in the middle of the busy summer season. But this is also the essential Nolan impossibility. As more and more auteurs have had to compromise — to either go smaller or team with streamers to get the kind of budget they might once have had at studios, like even Ridley Scott and Martin Scorsese have had to do this year — Nolan continues to make his movies on the grandest scale.\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>“Each of his films has been revolutionary in their own way,” Murphy said. “It’s an event every time he releases a film, and rightly so.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults",
"authors": [
"byline_arts_13931577"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_11906",
"arts_11977",
"arts_14639",
"arts_977",
"arts_21156",
"arts_585",
"arts_3038"
],
"featImg": "arts_13931578",
"label": "arts_140"
},
"arts_13931543": {
"type": "posts",
"id": "arts_13931543",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931543",
"score": null,
"sort": [
1689199238000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1689199238,
"format": "standard",
"title": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated",
"headTitle": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated | KQED",
"content": "\u003cp>Associated Press video journalist Mstyslav Chernov had just broken out of Mariupol after covering the first 20 days of the Russian invasion of the Ukrainian city and was feeling guilty about leaving. He and his colleagues, photographer Evgeniy Maloletka and producer Vasilisa Stepanenko, had been the last journalists there, sending crucial dispatches from a city under a full-scale assault.\u003c/p>\n\u003cp>The day after, a theater with hundreds of people sheltering inside was bombed and he knew no one was there to document it. That’s when Chernov decided he wanted to do something bigger. He’d filmed some 30 hours of footage over his days in Mariupol. But poor — and sometimes no — internet connections made it extremely difficult to export anything. All told, he estimates only about 40 minutes of that successfully made it out to the world.\u003c/p>\n\u003cp>“Those shots which went out were very important. They went on the AP and then to thousands of news outlets,” Chernov said earlier this year. “However, I had much more. … I thought I should do something more. I should do something more with that 30 hours of footage to tell a bigger story and more context to show the audience of the scale.”\u003c/p>\n\u003cp>[aside postid='arts_13930824']The bigger story became a documentary, \u003cem>20 Days in Mariupol\u003c/em>, a joint project between The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, which premiered earlier this year at Sundance Film Festival in Park City, Utah, where it won the audience award for world cinema documentary. Their reporting was also awarded two Pulitzer Prizes, including the prestigious public service award and for breaking news photography. And now the film is coming to a handful of theaters around the U.S. in July, starting with New York and Chicago this Friday.\u003c/p>\n\u003cp>Chernov knew there were many ways to tell this story. But he decided early on to keep it contained to those harrowing first 20 days that he and his colleagues were on the ground, to evoke the claustrophobic feeling of being trapped. He also chose to narrate it himself and tell it as a journalist would.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s just a lens through which we see the stories of Mariupol’s residents, the death, their suffering, the destruction of their homes,” he said. “At the same time, I felt that I can do it. I’m allowed to do it because I’m part of the community. I was born in eastern Ukraine and [a] photographer who worked with me was born in the city which is right next to Mariupol, which got occupied. So this is our story too.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>As an AP employee, Chernov was extremely aware of maintaining neutrality and being unbiased.\u003c/p>\n\u003cp>“It’s OK to tell the audiences about your emotions,” he said. “It’s just important to not let those emotions dictate what you show and don’t show. … While narrated by me, I still tried to keep it fair.”\u003c/p>\n\u003cp>[aside postid='arts_13931346']He encounters quite a few different reactions to him and his colleagues being on the ground. Some thanked them for doing their jobs. Some called them prostitutes. Some doctors urged them to film graphic scenes of injured and dead children to show the world what had been done.\u003c/p>\n\u003cp>After Chernov left Mariupol and was finally able to catch up with the news reports around the world, he was stunned by the effect their footage had. They followed up with people they’d met during their time there, some who got out, others who didn’t, and asked whether or not they’d affected their lives.\u003c/p>\n\u003cp>Some said relatives had found them because of the footage, or that they’d been able to get help. Doctors and officials said it made it easier to negotiate the green corridor to safety.\u003c/p>\n\u003cp>“I don’t know how much of that is our footage, how much of that is just what happens,” Chernov said. “But I really would like to believe that we did make a difference, because I guess that’s what journalism is about, to inform people so they make certain decisions.”\u003c/p>\n\u003cp>Another mission for him was to provide historical evidence for potential war crimes. Chernov is keenly aware that the war is not even history yet. It is a painful reality that is ongoing.\u003c/p>\n\u003cp>At Sundance he was able to watch the film, edited by Michelle Mizner of \u003cem>Frontline\u003c/em>, with an audience two times. The film got a standing ovation at the premiere. And at a subsequent screening he met several audience members who said they were from Mariupol and that their relatives were escaping the besieged city at the same time he was. The theaters had counselors on standby in case anyone needed support.\u003c/p>\n\u003cp>[aside postid='arts_13929913']“I hoped they will have emotional responses and they did. But at the same time to watch people crying, it’s hard,” he said. “When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.\u003c/p>\n\u003cp>“You just really want to show how it really was,” he added. “That was the main challenge of making choices while assembling the film. How do you show the gravity but at the same time not push the audience away? … We had already two screenings and audience responses are very strong. People are crying, people are depressed and they express a wide range of feelings, from anger, to sadness, to grief. That is what I as a filmmaker intended to do. But at the same time, I realize that probably that’s not easy for everyone.”\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>‘\u003ca href=\"https://20daysinmariupol.com/\">20 Days in Mariupol\u003c/a>’ opens July 21 in Bay Area theaters. Director Mstyslav Chernov will be in person at \u003ca href=\"https://roxie.com/film/20-days-in-mariupol/\">the Roxie Theater\u003c/a> (3117 16th St., San Francisco) on Saturday, July 22 for a Q&A moderated by Amanda Pike. Chernov will also appear on Sunday, July 23 at \u003ca href=\"https://rafaelfilm.cafilm.org/20-days-in-mariupol/\">the San Rafael Film Center\u003c/a> (1118 Fourth St., San Rafael). \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1057,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705005281,
"excerpt": "PBS and The Associated Press have joined forces with Ukrainian journalist Mstyslav Chernov for the film.",
"headData": {
"twImgId": "",
"twTitle": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated",
"socialTitle": "Mstyslav Chernov on ‘20 Days in Mariupol’ Ukraine Documentary %%page%% %%sep%% KQED",
"ogTitle": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated",
"ogImgId": "",
"twDescription": "",
"description": "PBS and The Associated Press have joined forces with Ukrainian journalist Mstyslav Chernov for the film.",
"title": "Mstyslav Chernov on ‘20 Days in Mariupol’ Ukraine Documentary | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘20 Days in Mariupol’ Documentary, the Horrors of War Are Illuminated",
"datePublished": "2023-07-12T15:00:38-07:00",
"dateModified": "2024-01-11T12:34:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated",
"status": "publish",
"templateType": "standard",
"nprByline": "Lindsey Bahr, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Associated Press video journalist Mstyslav Chernov had just broken out of Mariupol after covering the first 20 days of the Russian invasion of the Ukrainian city and was feeling guilty about leaving. He and his colleagues, photographer Evgeniy Maloletka and producer Vasilisa Stepanenko, had been the last journalists there, sending crucial dispatches from a city under a full-scale assault.\u003c/p>\n\u003cp>The day after, a theater with hundreds of people sheltering inside was bombed and he knew no one was there to document it. That’s when Chernov decided he wanted to do something bigger. He’d filmed some 30 hours of footage over his days in Mariupol. But poor — and sometimes no — internet connections made it extremely difficult to export anything. All told, he estimates only about 40 minutes of that successfully made it out to the world.\u003c/p>\n\u003cp>“Those shots which went out were very important. They went on the AP and then to thousands of news outlets,” Chernov said earlier this year. “However, I had much more. … I thought I should do something more. I should do something more with that 30 hours of footage to tell a bigger story and more context to show the audience of the scale.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930824",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The bigger story became a documentary, \u003cem>20 Days in Mariupol\u003c/em>, a joint project between The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, which premiered earlier this year at Sundance Film Festival in Park City, Utah, where it won the audience award for world cinema documentary. Their reporting was also awarded two Pulitzer Prizes, including the prestigious public service award and for breaking news photography. And now the film is coming to a handful of theaters around the U.S. in July, starting with New York and Chicago this Friday.\u003c/p>\n\u003cp>Chernov knew there were many ways to tell this story. But he decided early on to keep it contained to those harrowing first 20 days that he and his colleagues were on the ground, to evoke the claustrophobic feeling of being trapped. He also chose to narrate it himself and tell it as a journalist would.\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 just a lens through which we see the stories of Mariupol’s residents, the death, their suffering, the destruction of their homes,” he said. “At the same time, I felt that I can do it. I’m allowed to do it because I’m part of the community. I was born in eastern Ukraine and [a] photographer who worked with me was born in the city which is right next to Mariupol, which got occupied. So this is our story too.”\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/9H_Fg_5x4ME'\n title='//www.youtube.com/embed/9H_Fg_5x4ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As an AP employee, Chernov was extremely aware of maintaining neutrality and being unbiased.\u003c/p>\n\u003cp>“It’s OK to tell the audiences about your emotions,” he said. “It’s just important to not let those emotions dictate what you show and don’t show. … While narrated by me, I still tried to keep it fair.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931346",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>He encounters quite a few different reactions to him and his colleagues being on the ground. Some thanked them for doing their jobs. Some called them prostitutes. Some doctors urged them to film graphic scenes of injured and dead children to show the world what had been done.\u003c/p>\n\u003cp>After Chernov left Mariupol and was finally able to catch up with the news reports around the world, he was stunned by the effect their footage had. They followed up with people they’d met during their time there, some who got out, others who didn’t, and asked whether or not they’d affected their lives.\u003c/p>\n\u003cp>Some said relatives had found them because of the footage, or that they’d been able to get help. Doctors and officials said it made it easier to negotiate the green corridor to safety.\u003c/p>\n\u003cp>“I don’t know how much of that is our footage, how much of that is just what happens,” Chernov said. “But I really would like to believe that we did make a difference, because I guess that’s what journalism is about, to inform people so they make certain decisions.”\u003c/p>\n\u003cp>Another mission for him was to provide historical evidence for potential war crimes. Chernov is keenly aware that the war is not even history yet. It is a painful reality that is ongoing.\u003c/p>\n\u003cp>At Sundance he was able to watch the film, edited by Michelle Mizner of \u003cem>Frontline\u003c/em>, with an audience two times. The film got a standing ovation at the premiere. And at a subsequent screening he met several audience members who said they were from Mariupol and that their relatives were escaping the besieged city at the same time he was. The theaters had counselors on standby in case anyone needed support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13929913",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I hoped they will have emotional responses and they did. But at the same time to watch people crying, it’s hard,” he said. “When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.\u003c/p>\n\u003cp>“You just really want to show how it really was,” he added. “That was the main challenge of making choices while assembling the film. How do you show the gravity but at the same time not push the audience away? … We had already two screenings and audience responses are very strong. People are crying, people are depressed and they express a wide range of feelings, from anger, to sadness, to grief. That is what I as a filmmaker intended to do. But at the same time, I realize that probably that’s not easy for everyone.”\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>‘\u003ca href=\"https://20daysinmariupol.com/\">20 Days in Mariupol\u003c/a>’ opens July 21 in Bay Area theaters. Director Mstyslav Chernov will be in person at \u003ca href=\"https://roxie.com/film/20-days-in-mariupol/\">the Roxie Theater\u003c/a> (3117 16th St., San Francisco) on Saturday, July 22 for a Q&A moderated by Amanda Pike. Chernov will also appear on Sunday, July 23 at \u003ca href=\"https://rafaelfilm.cafilm.org/20-days-in-mariupol/\">the San Rafael Film Center\u003c/a> (1118 Fourth St., San Rafael). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated",
"authors": [
"byline_arts_13931543"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_13672",
"arts_9992",
"arts_4565",
"arts_585",
"arts_16761"
],
"featImg": "arts_13931546",
"label": "arts_140"
},
"arts_13931440": {
"type": "posts",
"id": "arts_13931440",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931440",
"score": null,
"sort": [
1689092160000
]
},
"guestAuthors": [],
"slug": "oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"title": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong'",
"publishDate": 1689092160,
"format": "standard",
"headTitle": "Oakland-Based Filmmaker Cheryl Dunye Advises: ‘Put Yourself Out Where You Belong’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwJc6hVgMDk\u003c/p>\n\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>[aside postid='arts_13894145']Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\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=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "Cheryl Dunye’s 1996 debut ‘The Watermelon Woman’ is being added to the Criterion Collection.",
"status": "publish",
"parent": 0,
"modified": 1726771094,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1274
},
"headData": {
"title": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong' | KQED",
"description": "Cheryl Dunye’s 1996 debut ‘The Watermelon Woman’ is being added to the Criterion Collection.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong'",
"datePublished": "2023-07-11T09:16:00-07:00",
"dateModified": "2024-09-19T11:38:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Allyson McCabe",
"nprImageAgency": "Jamie Hopper",
"nprStoryId": "1186387526",
"nprApiLink": "http://api.npr.org/query?id=1186387526&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2023/07/08/1186387526/cheryl-dunye-the-watermelon-woman?ft=nprml&f=1186387526",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 08 Jul 2023 11:23:00 -0400",
"nprStoryDate": "Sat, 08 Jul 2023 05:00:42 -0400",
"nprLastModifiedDate": "Sat, 08 Jul 2023 05:00:42 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2023/07/20230708_wesat_some_advice_from_filmmaker_cheryl_dunye_keep_putting_yourself_out_where_you_belong.mp3?orgId=1&topicId=1045&d=327&p=7&story=1186387526&ft=nprml&f=1186387526",
"nprAudioM3u": "http://api.npr.org/m3u/11186631661-213772.m3u?orgId=1&topicId=1045&d=327&p=7&story=1186387526&ft=nprml&f=1186387526",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931440/oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2023/07/20230708_wesat_some_advice_from_filmmaker_cheryl_dunye_keep_putting_yourself_out_where_you_belong.mp3?orgId=1&topicId=1045&d=327&p=7&story=1186387526&ft=nprml&f=1186387526",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\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/uwJc6hVgMDk'\n title='//www.youtube.com/embed/uwJc6hVgMDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894145",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930047",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\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>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\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=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931440/oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"authors": [
"byline_arts_13931440"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_3226",
"arts_1143",
"arts_17559",
"arts_9303"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931441",
"label": "arts_137"
},
"arts_13931405": {
"type": "posts",
"id": "arts_13931405",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931405",
"score": null,
"sort": [
1689022581000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1689022581,
"format": "standard",
"title": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing",
"headTitle": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing | KQED",
"content": "\u003cp>It was another Friday night out at the movies with a few noticeable differences. As I adjusted the tilt on my deck chair, a spotted mutt in a purple harness paced anxiously nearby, waiting for its human to return with hot popcorn. As the movie began, planes regularly crossed the skyline, pulling my attention away from the film ever so briefly. About halfway through the screening, the moon crept out from behind a glass tower.\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/\">The Cut Outdoor Cinema\u003c/a> opened in 2022 to seemingly little fanfare. In the same area as new pickleball courts, soccer pitches, and an outdoor gym, the cinema occupies a dedicated parcel of the former temporary Transbay Terminal, now dubbed \u003ca href=\"https://www.eastcutcrossing.com/\">The Crossing\u003c/a>. With a bright 23-foot LED screen and noise-canceling headphones to keep viewers focused on the feature presentation, distractions common in indoor theaters — folks whisper-chatting, smartphone screens lit up by mid-movie texting — don’t even register here. The only major intrusion can be the sound system at the neighboring beer garden — that, and a good dog passing in an aisle.\u003c/p>\n\u003cp>I’d expected to enjoy the experience, especially as a person seeking safe entertainment options in a time when pandemic protections have been stripped from basically all public areas. But it wasn’t until I settled in to watch \u003cem>Clueless\u003c/em> on a recent evening that I realized how an outdoor cinema set up on a repurposed SoMa square feels like a necessarily inventive and radically inclusive space. I only regret that it took me so long to discover this delightful new option.\u003c/p>\n\u003cp>An outdoor cinema is the exact sort of creative, accessible venue I’d optimistically hoped would emerge — and remain — as a safer alternative to indoor spaces with poor ventilation, given all we’ve ostensibly learned about preventable airborne illness in the past few years. Located just two blocks from the bay, the breeziness and ability to spread out from other moviegoers is a benefit, not a drawback. It’s part of a flat-surface plaza, accessible for folks using mobility aids or with wheeled conveyances like strollers.\u003c/p>\n\u003cfigure id=\"attachment_13931427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg\" alt=\"Boxed candies and canned beverages displayed on a colorful Mexican blanket\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Snack and drink offerings at The Cut’s “Concessiontainer.” \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moviegoing logistics are as straightforward as they are charming. When buying a ticket, moviegoers choose their seating type — a canvas sling chair or Big Joe bean bag — and large blankets are free to borrow at the venue for cooler evenings. Warm hats are for sale in the adorable red “Concessiontainer,” along with snacks, soda and adult beverages from \u003ca href=\"https://www.monarchsf.com/\">Monarch\u003c/a>. (Like any other theater, no food or drink from outside the venue is allowed.) All are welcome, including babies and on-leash pets. Cash is not accepted. Tickets are priced per show, typically $16.75 for a deck chair or $26.75 for a bean bag and popcorn, plus Eventbrite fees. Monthly passes for unlimited access sell for just $29.99.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The venue has honed a certain j\u003cem>e ne sais quoi\u003c/em> of what plays best on a huge, vivid screen: big-budget newer releases, animated features, beloved throwbacks, and action flicks. There’s also seasonal sports and cultural programming. For example, the July calendar features numerous Major League Soccer and UEFA Champions League games, as well as the FIFA Women’s World Cup. (Sports broadcasts don’t have an entry fee but do require registering with the venue.)\u003c/p>\n\u003cp>Additionally, this month marks the partially-in-person return of the 17th annual \u003ca href=\"https://www.frozenfilmfestival.com/\">San Francisco Frozen Film Festival\u003c/a> (SFFFF), which is hosted only at The Cut Outdoor Cinema and online. The longtime SF festival went entirely virtual the past three years and is maintaining that option. But it will also screen new hyperlocal work at The Cut for the better part of a week starting on Wednesday, July 12, partnering with this inclusive physical venue to showcase work by filmmakers who are young, from marginalized communities, or creating socially-conscious art. Festival passes are $25, with film screenings also priced individually.\u003c/p>\n\u003cp>While The Cut Outdoor Cinema is open year-round, some of this summer’s outdoor moviegoing options in the Bay Area are timed for lazy summer days and (slightly) warmer nights. Most screenings are free-of-charge in public spaces.\u003c/p>\n\u003cfigure id=\"attachment_13931428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg\" alt=\"Nighttime view of crowd on blankets in Dolores Park, large inflated screen in distance with three nuns and dialogue below.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Sister Act 2’ playing at Dolores Park in 2022 as part of Sundown Cinema. \u003ccite>(Courtesy SF Parks Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sundown Cinema in SF Parks\u003c/h2>\n\u003cp>Now in its fifth year, the San Francisco Parks Alliance \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">2023 Sundown Cinema\u003c/a> series kicked off on June 8 and is currently underway. Through October, catch a selection of all-ages movies at parks across the city. Join the \u003cem>Mamma Mia\u003c/em> singalong at Dolores Park on Aug. 18 or get in the Halloween spirit with \u003cem>Ghostbusters\u003c/em> (the 1984 original) at McLaren Park’s Jerry Garcia Amphitheater on Oct. 20. Showtimes vary by screening and park; check the SF Parks Alliance website for more information.\u003c/p>\n\u003ch2>Movie Nights in Mountain View\u003c/h2>\n\u003cp>A similar initiative enables peninsula-based movie buffs to catch free screenings at various Mountain View parks on Friday nights through August 11. The city’s \u003ca href=\"https://www.mountainview.gov/Home/Components/Calendar/Event/532/18\">Summer Outdoor Movie Night Series\u003c/a> includes \u003cem>Puss in Boots: The Last Wish\u003c/em> at Stevenson Park on July 21 and \u003cem>Black Panther: Wakanda Forever\u003c/em> at Eagle Park on Aug. 4. All shows begin at 8:30 p.m. or dark.\u003c/p>\n\u003ch2>Saturday Movies in San José\u003c/h2>\n\u003cp>San José’s downtown \u003ca href=\"https://sjdowntown.com/starlight-cinema/\">Starlight Cinema\u003c/a> also returns this year, staging Saturday movie nights in St. James Park. The 2023 lineup includes \u003cem>Ferris Bueller’s Day Off\u003c/em> on July 15, Moana on July 29, and \u003cem>Back to the Future\u003c/em> on Aug. 5. The films all start around 8:30 p.m., with pre-movie lawn games available an hour before showtime.\u003c/p>\n\u003ch2>August at BAMPFA\u003c/h2>\n\u003cp>The Berkeley Art Museum and Pacific Film Archive hosts another free summer series on its huge outdoor screen at the corner of Addison and Oxford Streets. The three-film program \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-art-animation\">focuses on animated features\u003c/a>, with \u003cem>Toy Story 2\u003c/em> on Aug. 3, \u003cem>Finding Nemo\u003c/em> on Aug. 17, and \u003cem>Persepolis\u003c/em> on Aug. 31. All screenings begin at 7 p.m.\u003c/p>\n\u003ch2>A Farm Film\u003c/h2>\n\u003cp>Free in Fremont on Saturday, Aug. 12 at 8 p.m., Ardenwood Historic Farm presents \u003cem>Lightyear\u003c/em> at this \u003ca href=\"https://anc.apm.activecommunities.com/ebparks/activity/search/detail/48601\">family-friendly sunset screening\u003c/a>. BYO chairs, snacks, and a flashlight. No pets.\u003c/p>\n\u003ch2>Local Flicks in Bernal\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Celebrating 20 years of screening diverse work by local filmmakers for no charge, the \u003ca href=\"https://bhoutdoorcine.org/\">Bernal Heights Outdoor Cinema\u003c/a> returns for three nights on September 8, 9 and 15. On Saturday, Sept. 9, make your way to Precita Park for a full evening of short film screenings, beginning at 6 p.m.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1124,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705005291,
"excerpt": "Plus! A guide to free outdoor movies in the Bay Area throughout summer 2023.",
"headData": {
"twImgId": "",
"twTitle": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing",
"socialTitle": "Your Outdoor Movie Guide: Year-Long and Summer Offerings %%page%% %%sep%% KQED",
"ogTitle": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing",
"ogImgId": "",
"twDescription": "",
"description": "Plus! A guide to free outdoor movies in the Bay Area throughout summer 2023.",
"title": "Your Outdoor Movie Guide: Year-Long and Summer Offerings | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing",
"datePublished": "2023-07-10T13:56:21-07:00",
"dateModified": "2024-01-11T12:34:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "outdoor-movie-guide-summer-2023-the-cut",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13931405/outdoor-movie-guide-summer-2023-the-cut",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was another Friday night out at the movies with a few noticeable differences. As I adjusted the tilt on my deck chair, a spotted mutt in a purple harness paced anxiously nearby, waiting for its human to return with hot popcorn. As the movie began, planes regularly crossed the skyline, pulling my attention away from the film ever so briefly. About halfway through the screening, the moon crept out from behind a glass tower.\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/\">The Cut Outdoor Cinema\u003c/a> opened in 2022 to seemingly little fanfare. In the same area as new pickleball courts, soccer pitches, and an outdoor gym, the cinema occupies a dedicated parcel of the former temporary Transbay Terminal, now dubbed \u003ca href=\"https://www.eastcutcrossing.com/\">The Crossing\u003c/a>. With a bright 23-foot LED screen and noise-canceling headphones to keep viewers focused on the feature presentation, distractions common in indoor theaters — folks whisper-chatting, smartphone screens lit up by mid-movie texting — don’t even register here. The only major intrusion can be the sound system at the neighboring beer garden — that, and a good dog passing in an aisle.\u003c/p>\n\u003cp>I’d expected to enjoy the experience, especially as a person seeking safe entertainment options in a time when pandemic protections have been stripped from basically all public areas. But it wasn’t until I settled in to watch \u003cem>Clueless\u003c/em> on a recent evening that I realized how an outdoor cinema set up on a repurposed SoMa square feels like a necessarily inventive and radically inclusive space. I only regret that it took me so long to discover this delightful new option.\u003c/p>\n\u003cp>An outdoor cinema is the exact sort of creative, accessible venue I’d optimistically hoped would emerge — and remain — as a safer alternative to indoor spaces with poor ventilation, given all we’ve ostensibly learned about preventable airborne illness in the past few years. Located just two blocks from the bay, the breeziness and ability to spread out from other moviegoers is a benefit, not a drawback. It’s part of a flat-surface plaza, accessible for folks using mobility aids or with wheeled conveyances like strollers.\u003c/p>\n\u003cfigure id=\"attachment_13931427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg\" alt=\"Boxed candies and canned beverages displayed on a colorful Mexican blanket\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Snack and drink offerings at The Cut’s “Concessiontainer.” \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moviegoing logistics are as straightforward as they are charming. When buying a ticket, moviegoers choose their seating type — a canvas sling chair or Big Joe bean bag — and large blankets are free to borrow at the venue for cooler evenings. Warm hats are for sale in the adorable red “Concessiontainer,” along with snacks, soda and adult beverages from \u003ca href=\"https://www.monarchsf.com/\">Monarch\u003c/a>. (Like any other theater, no food or drink from outside the venue is allowed.) All are welcome, including babies and on-leash pets. Cash is not accepted. Tickets are priced per show, typically $16.75 for a deck chair or $26.75 for a bean bag and popcorn, plus Eventbrite fees. Monthly passes for unlimited access sell for just $29.99.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The venue has honed a certain j\u003cem>e ne sais quoi\u003c/em> of what plays best on a huge, vivid screen: big-budget newer releases, animated features, beloved throwbacks, and action flicks. There’s also seasonal sports and cultural programming. For example, the July calendar features numerous Major League Soccer and UEFA Champions League games, as well as the FIFA Women’s World Cup. (Sports broadcasts don’t have an entry fee but do require registering with the venue.)\u003c/p>\n\u003cp>Additionally, this month marks the partially-in-person return of the 17th annual \u003ca href=\"https://www.frozenfilmfestival.com/\">San Francisco Frozen Film Festival\u003c/a> (SFFFF), which is hosted only at The Cut Outdoor Cinema and online. The longtime SF festival went entirely virtual the past three years and is maintaining that option. But it will also screen new hyperlocal work at The Cut for the better part of a week starting on Wednesday, July 12, partnering with this inclusive physical venue to showcase work by filmmakers who are young, from marginalized communities, or creating socially-conscious art. Festival passes are $25, with film screenings also priced individually.\u003c/p>\n\u003cp>While The Cut Outdoor Cinema is open year-round, some of this summer’s outdoor moviegoing options in the Bay Area are timed for lazy summer days and (slightly) warmer nights. Most screenings are free-of-charge in public spaces.\u003c/p>\n\u003cfigure id=\"attachment_13931428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg\" alt=\"Nighttime view of crowd on blankets in Dolores Park, large inflated screen in distance with three nuns and dialogue below.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Sister Act 2’ playing at Dolores Park in 2022 as part of Sundown Cinema. \u003ccite>(Courtesy SF Parks Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sundown Cinema in SF Parks\u003c/h2>\n\u003cp>Now in its fifth year, the San Francisco Parks Alliance \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">2023 Sundown Cinema\u003c/a> series kicked off on June 8 and is currently underway. Through October, catch a selection of all-ages movies at parks across the city. Join the \u003cem>Mamma Mia\u003c/em> singalong at Dolores Park on Aug. 18 or get in the Halloween spirit with \u003cem>Ghostbusters\u003c/em> (the 1984 original) at McLaren Park’s Jerry Garcia Amphitheater on Oct. 20. Showtimes vary by screening and park; check the SF Parks Alliance website for more information.\u003c/p>\n\u003ch2>Movie Nights in Mountain View\u003c/h2>\n\u003cp>A similar initiative enables peninsula-based movie buffs to catch free screenings at various Mountain View parks on Friday nights through August 11. The city’s \u003ca href=\"https://www.mountainview.gov/Home/Components/Calendar/Event/532/18\">Summer Outdoor Movie Night Series\u003c/a> includes \u003cem>Puss in Boots: The Last Wish\u003c/em> at Stevenson Park on July 21 and \u003cem>Black Panther: Wakanda Forever\u003c/em> at Eagle Park on Aug. 4. All shows begin at 8:30 p.m. or dark.\u003c/p>\n\u003ch2>Saturday Movies in San José\u003c/h2>\n\u003cp>San José’s downtown \u003ca href=\"https://sjdowntown.com/starlight-cinema/\">Starlight Cinema\u003c/a> also returns this year, staging Saturday movie nights in St. James Park. The 2023 lineup includes \u003cem>Ferris Bueller’s Day Off\u003c/em> on July 15, Moana on July 29, and \u003cem>Back to the Future\u003c/em> on Aug. 5. The films all start around 8:30 p.m., with pre-movie lawn games available an hour before showtime.\u003c/p>\n\u003ch2>August at BAMPFA\u003c/h2>\n\u003cp>The Berkeley Art Museum and Pacific Film Archive hosts another free summer series on its huge outdoor screen at the corner of Addison and Oxford Streets. The three-film program \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-art-animation\">focuses on animated features\u003c/a>, with \u003cem>Toy Story 2\u003c/em> on Aug. 3, \u003cem>Finding Nemo\u003c/em> on Aug. 17, and \u003cem>Persepolis\u003c/em> on Aug. 31. All screenings begin at 7 p.m.\u003c/p>\n\u003ch2>A Farm Film\u003c/h2>\n\u003cp>Free in Fremont on Saturday, Aug. 12 at 8 p.m., Ardenwood Historic Farm presents \u003cem>Lightyear\u003c/em> at this \u003ca href=\"https://anc.apm.activecommunities.com/ebparks/activity/search/detail/48601\">family-friendly sunset screening\u003c/a>. BYO chairs, snacks, and a flashlight. No pets.\u003c/p>\n\u003ch2>Local Flicks in Bernal\u003c/h2>\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>Celebrating 20 years of screening diverse work by local filmmakers for no charge, the \u003ca href=\"https://bhoutdoorcine.org/\">Bernal Heights Outdoor Cinema\u003c/a> returns for three nights on September 8, 9 and 15. On Saturday, Sept. 9, make your way to Precita Park for a full evening of short film screenings, beginning at 6 p.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931405/outdoor-movie-guide-summer-2023-the-cut",
"authors": [
"11715"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_9693",
"arts_1006",
"arts_20576",
"arts_585"
],
"featImg": "arts_13931425",
"label": "arts_140"
},
"arts_13931346": {
"type": "posts",
"id": "arts_13931346",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931346",
"score": null,
"sort": [
1688768168000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1688768168,
"format": "standard",
"title": "‘The League’ Joyfully Reframes the Heyday of Black Baseball",
"headTitle": "‘The League’ Joyfully Reframes the Heyday of Black Baseball | KQED",
"content": "\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.[aside postid='arts_13875504']\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\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>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\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": 1139,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705005297,
"excerpt": "Sam Pollard's highlight-strewn history of the Negro Leagues is a must-see for fans.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Sam Pollard's highlight-strewn history of the Negro Leagues is a must-see for fans.",
"title": "‘The League’ Joyfully Reframes the Heyday of Black Baseball | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘The League’ Joyfully Reframes the Heyday of Black Baseball",
"datePublished": "2023-07-07T15:16:08-07:00",
"dateModified": "2024-01-11T12:34:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-league-joyfully-reframes-the-heyday-of-black-baseball",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13931346/the-league-joyfully-reframes-the-heyday-of-black-baseball",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13875504",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\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>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/13931346/the-league-joyfully-reframes-the-heyday-of-black-baseball",
"authors": [
"22"
],
"categories": [
"arts_1",
"arts_74",
"arts_13238"
],
"tags": [
"arts_5426",
"arts_10092",
"arts_13672",
"arts_977",
"arts_20131",
"arts_11986"
],
"featImg": "arts_13931368",
"label": "arts"
},
"arts_13931287": {
"type": "posts",
"id": "arts_13931287",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931287",
"score": null,
"sort": [
1688739083000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1688739083,
"format": "standard",
"title": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’",
"headTitle": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’ | KQED",
"content": "\u003cp>The egos are as vast and thorny as the gardens on the lush estate of a prominent author in \u003cem>The Lesson\u003c/em>, an entertaining and erudite chamber piece about a master, a tutor and a family after loss.\u003c/p>\n\u003cp>[aside postid='arts_13931189']This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P0wnu-1_8-M\u003c/p>\n\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>[aside postid='arts_13930824']McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 751,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705005302,
"excerpt": "A captivating McCormack plays an aspiring writer who is tutoring the son of a world-famous author played by Grant.",
"headData": {
"twImgId": "",
"twTitle": "Daryl McCormack and Richard E. Grant Shine in Literary Thriller, ‘The Lesson’",
"socialTitle": "‘The Lesson’ Review: Daryl McCormack Shines in Literary Heist %%page%% %%sep%% KQED",
"ogTitle": "Daryl McCormack and Richard E. Grant Shine in Literary Thriller, ‘The Lesson’",
"ogImgId": "",
"twDescription": "",
"description": "A captivating McCormack plays an aspiring writer who is tutoring the son of a world-famous author played by Grant.",
"title": "‘The Lesson’ Review: Daryl McCormack Shines in Literary Heist | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’",
"datePublished": "2023-07-07T07:11:23-07:00",
"dateModified": "2024-01-11T12:35:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-lesson-review-daryl-mccormack-richard-e-grant-julie-delpy",
"status": "publish",
"templateType": "standard",
"nprByline": "Lindsey Bahr, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931287/the-lesson-review-daryl-mccormack-richard-e-grant-julie-delpy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The egos are as vast and thorny as the gardens on the lush estate of a prominent author in \u003cem>The Lesson\u003c/em>, an entertaining and erudite chamber piece about a master, a tutor and a family after loss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\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/P0wnu-1_8-M'\n title='//www.youtube.com/embed/P0wnu-1_8-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930824",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931287/the-lesson-review-daryl-mccormack-richard-e-grant-julie-delpy",
"authors": [
"byline_arts_13931287"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_977",
"arts_585"
],
"featImg": "arts_13931289",
"label": "arts_140"
},
"arts_13931227": {
"type": "posts",
"id": "arts_13931227",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931227",
"score": null,
"sort": [
1688662264000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1688662264,
"format": "standard",
"title": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
"headTitle": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp | KQED",
"content": "\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCtE8zur6CM\u003c/p>\n\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>[aside postid='arts_13930502']Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 835,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705005311,
"excerpt": "It's hard not to get swept up in this journey — full of filthy one-liners and priceless sight gags.",
"headData": {
"twImgId": "",
"twTitle": "Buckle Up: This Mile-a-Minute ’Joy Ride’ Across China is a Raunchy Romp",
"socialTitle": "‘Joy Ride’ Review: Energetic Comedy That’s Asian Culture Savvy %%page%% %%sep%% KQED",
"ogTitle": "Buckle Up: This Mile-a-Minute ’Joy Ride’ Across China is a Raunchy Romp",
"ogImgId": "",
"twDescription": "",
"description": "It's hard not to get swept up in this journey — full of filthy one-liners and priceless sight gags.",
"title": "‘Joy Ride’ Review: Energetic Comedy That’s Asian Culture Savvy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
"datePublished": "2023-07-06T09:51:04-07:00",
"dateModified": "2024-01-11T12:35:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1186024981&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 06 Jul 2023 05:00:57 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 06 Jul 2023 05:00:57 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/07/1186024981/joy-ride-review?ft=nprml&f=1186024981",
"nprImageAgency": "Lionsgate",
"nprStoryId": "1186024981",
"nprByline": "Justin Chang",
"sticky": false,
"nprImageCredit": "Ed Araquel",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 06 Jul 2023 05:00:00 -0400",
"path": "/arts/13931227/buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930824",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\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/UCtE8zur6CM'\n title='//www.youtube.com/embed/UCtE8zur6CM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930502",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931227/buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp",
"authors": [
"byline_arts_13931227"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_13689",
"arts_549",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931228",
"label": "arts_140"
},
"arts_13931189": {
"type": "posts",
"id": "arts_13931189",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931189",
"score": null,
"sort": [
1688422950000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1688422950,
"format": "standard",
"title": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"headTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done? | KQED",
"content": "\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/reel/CqRu31tD2nh\u003c/p>\n\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>[aside postid='futureofyou_202943']“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CptsxGHj52l\u003c/p>\n\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>[aside postid='arts_10134762']“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcBDDb2uv8_/\u003c/p>\n\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 736,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705005315,
"excerpt": "Orson Welles‘ follow-up to ‘Citizen Kane’ was ‘The Magnificent Ambersons’ — but it was edited into incoherence by the studio.",
"headData": {
"twImgId": "",
"twTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"socialTitle": "Orson Welles’ ‘Magnificent Ambersons’ Gets a Fresh Edit %%page%% %%sep%% KQED",
"ogTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"ogImgId": "",
"twDescription": "",
"description": "Orson Welles‘ follow-up to ‘Citizen Kane’ was ‘The Magnificent Ambersons’ — but it was edited into incoherence by the studio.",
"title": "Orson Welles’ ‘Magnificent Ambersons’ Gets a Fresh Edit | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"datePublished": "2023-07-03T15:22:30-07:00",
"dateModified": "2024-01-11T12:35:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "orson-welles-magnificent-ambersons-new-edit-brian-rose",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1184839653&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 03 Jul 2023 05:00:25 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 03 Jul 2023 11:04:15 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/03/1184839653/orson-welles-the-magnificent-ambersons?ft=nprml&f=1184839653",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/07/20230703_me_an_orson_welles_film_was_horribly_edited_will_cinematic_justice_finally_be_done.mp3?orgId=1&topicId=1045&d=228&p=3&story=1184839653&ft=nprml&f=1184839653",
"nprImageAgency": "Express/Hulton Archive/Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/11185740822-e07d4a.m3u?orgId=1&topicId=1045&d=228&p=3&story=1184839653&ft=nprml&f=1184839653",
"nprStoryId": "1184839653",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Len Trievnor",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 03 Jul 2023 11:03:00 -0400",
"path": "/arts/13931189/orson-welles-magnificent-ambersons-new-edit-brian-rose",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/07/20230703_me_an_orson_welles_film_was_horribly_edited_will_cinematic_justice_finally_be_done.mp3?orgId=1&topicId=1045&d=228&p=3&story=1184839653&ft=nprml&f=1184839653",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/reel/CqRu31tD2nh"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\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>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "futureofyou_202943",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/reel/CptsxGHj52l"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10134762",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CcBDDb2uv8_/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931189/orson-welles-magnificent-ambersons-new-edit-brian-rose",
"authors": [
"byline_arts_13931189"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_12927"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931190",
"label": "arts_137"
},
"arts_13930824": {
"type": "posts",
"id": "arts_13930824",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13930824",
"score": null,
"sort": [
1688148427000
]
},
"guestAuthors": [],
"slug": "every-body-intersex-documentary-lgbtqia-david-reimer-river-gallo-saifa-alicia-weigel",
"title": "‘Every Body’ Paints an Expansive Portrait of Intersex Beauty and Resilience",
"publishDate": 1688148427,
"format": "standard",
"headTitle": "‘Every Body’ Paints an Expansive Portrait of Intersex Beauty and Resilience | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Certain documentaries have stuck with me. Especially those about people who’ve survived physical violations only to suffer mental and emotional violations in their fight for justice. I’m thinking of 2012’s \u003cem>The Invisible War\u003c/em>, about the handling of sexual assaults in the military, and 2015’s \u003cem>The Hunting Ground\u003c/em>, about survivors of on-campus sexual assault. Both left me with a burning pit in my stomach long after the credits rolled.\u003c/p>\n\u003cp>I was reminded of that sensation while watching the brand new documentary, \u003cem>Every Body\u003c/em>. At times, particularly towards its end, the new film — all about the ‘I’ in LGBTQIA — leans hard into themes of hope and optimism. But \u003cem>Every Body\u003c/em>’s core does such a good job of explaining the litany of wrongs historically done to American intersex people that a deep sense of injustice is hard to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13930826\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/every_body.jpg\" alt=\"\" width=\"510\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body-160x237.jpg 160w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Every Body’ documents — and celebrates — the lives of three intersex people.\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of \u003cem>Every Body\u003c/em> (directed by Julie Cohen, who was also responsible for 2018’s excellent \u003ca href=\"https://www.imdb.com/title/tt7689964/?ref_=nv_sr_srsg_0_tt_5_nm_3_q_RBG\">\u003cem>RBG\u003c/em>\u003c/a>) are three enormously charismatic and likable intersex folks. There’s Sean Saifa Wall (he/him) who was born with an ambiguous gender, but surgically forced into a female-appearing body in infancy. It was a decision made by doctors to, according to medical notes, “protect [Wall’s] parents’ emotional wellbeing.” Wall is clear here that he felt like a male from day one and has been living with the consequences of that early medical intervention ever since.\u003c/p>\n\u003cp>[aside postid='arts_13927774']Then there’s Alicia Roth Weigel (she/they) who was born with XY chromosomes, but always outwardly presented as female. Alicia was born with internal testes instead of a uterus, but grew up being told to keep it a secret from everyone in her life, including her own brother. (At one point here, she admits to carrying tampons in her purse during her teens in order to avoid scrutiny about her lack of a period.) Weigel first came out publicly in 2017 when \u003ca href=\"https://www.youtube.com/watch?v=ZFjpr9DnAR4\">she testified before the Texas Congress\u003c/a>, arguing against the state’s \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\">controversial bathroom bill\u003c/a>, which was ultimately struck down.\u003c/p>\n\u003cp>Finally, there’s River Gallo (they/them), who was raised as a boy — and is still misgendered by their own mother — despite being born without testes. Gallo was given prosthetic testicles in their teens and had almost no say in their medical treatment whatsoever. (Gallo also received zero professional psychological support at the time.) Despite a somewhat confusing upbringing, Gallo has since learned to fully embrace their intersex qualities. And they are all the more radiant for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SoNvk5N-MKo\u003c/p>\n\u003cp>Wall, Weigel and Gallo’s individual stories are compelling and intimately told in a way that, even if \u003cem>Every Body\u003c/em> had only focused on the trio, it would still have been an essential portrait of intersex lives and realities. Where the film goes above and beyond, however, is in how it explains the history and rationale of the medical professionals who, for so long, forced unnecessary surgical procedures on intersex infants and youth. One gets the distinct impression that these monumental decisions — attempting to force intersex children into the gender binary — were often made casually and, in many cases, without much parental input. One also gets the unsettling feeling that they are probably still happening in more places than they should be.\u003c/p>\n\u003cp>[aside postid='arts_13929913']\u003cem>Every Body\u003c/em> traces the roots of these damaging practices back to a psychologist named John Money, who argued that gender identity could be fashioned externally and via social constructs, and was not in fact, self-directed. Money’s treatment of one particular patient in the 1970s, David Reimer, can only be described as an unmitigated, gut-wrenching disaster. Reimer’s story may be agonizing to watch now, but it contains essential lessons around the importance of allowing individuals — all individuals — to self-identify their own genders.\u003c/p>\n\u003cp>One is struck at the end of these engrossing 92 minutes just how misunderstood intersex people remain in 2023, and how much their stories — searing and impactful though they are — have been neglected thus far. \u003cem>Every Body\u003c/em> very effectively seeks to rectify that. Once you watch it, you’ll never forget the ‘I’ in LGBTQI ever again.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.focusfeatures.com/every-body/\">Every Body\u003c/a>’ opens in Bay Area theaters on June 30, 2023.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new documentary charts the history of unnecessary medical interventions performed on intersex children, demanding change.",
"status": "publish",
"parent": 0,
"modified": 1741366927,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 760
},
"headData": {
"title": "‘Every Body’ Review: A Brilliant New LGBTQIA Documentary | KQED",
"description": "A new documentary charts the history of unnecessary medical interventions performed on intersex children, demanding change.",
"ogTitle": "‘Every Body’ Paints an Expansive Portrait of Intersex Beauty and Resilience",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Every Body’ Paints an Expansive Portrait of Intersex Beauty and Resilience",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Every Body’ Review: A Brilliant New LGBTQIA Documentary %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Every Body’ Paints an Expansive Portrait of Intersex Beauty and Resilience",
"datePublished": "2023-06-30T11:07:07-07:00",
"dateModified": "2025-03-07T09:02:07-08:00",
"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/13930824/every-body-intersex-documentary-lgbtqia-david-reimer-river-gallo-saifa-alicia-weigel",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Certain documentaries have stuck with me. Especially those about people who’ve survived physical violations only to suffer mental and emotional violations in their fight for justice. I’m thinking of 2012’s \u003cem>The Invisible War\u003c/em>, about the handling of sexual assaults in the military, and 2015’s \u003cem>The Hunting Ground\u003c/em>, about survivors of on-campus sexual assault. Both left me with a burning pit in my stomach long after the credits rolled.\u003c/p>\n\u003cp>I was reminded of that sensation while watching the brand new documentary, \u003cem>Every Body\u003c/em>. At times, particularly towards its end, the new film — all about the ‘I’ in LGBTQIA — leans hard into themes of hope and optimism. But \u003cem>Every Body\u003c/em>’s core does such a good job of explaining the litany of wrongs historically done to American intersex people that a deep sense of injustice is hard to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13930826\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/every_body.jpg\" alt=\"\" width=\"510\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body-160x237.jpg 160w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Every Body’ documents — and celebrates — the lives of three intersex people.\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of \u003cem>Every Body\u003c/em> (directed by Julie Cohen, who was also responsible for 2018’s excellent \u003ca href=\"https://www.imdb.com/title/tt7689964/?ref_=nv_sr_srsg_0_tt_5_nm_3_q_RBG\">\u003cem>RBG\u003c/em>\u003c/a>) are three enormously charismatic and likable intersex folks. There’s Sean Saifa Wall (he/him) who was born with an ambiguous gender, but surgically forced into a female-appearing body in infancy. It was a decision made by doctors to, according to medical notes, “protect [Wall’s] parents’ emotional wellbeing.” Wall is clear here that he felt like a male from day one and has been living with the consequences of that early medical intervention ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13927774",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s Alicia Roth Weigel (she/they) who was born with XY chromosomes, but always outwardly presented as female. Alicia was born with internal testes instead of a uterus, but grew up being told to keep it a secret from everyone in her life, including her own brother. (At one point here, she admits to carrying tampons in her purse during her teens in order to avoid scrutiny about her lack of a period.) Weigel first came out publicly in 2017 when \u003ca href=\"https://www.youtube.com/watch?v=ZFjpr9DnAR4\">she testified before the Texas Congress\u003c/a>, arguing against the state’s \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\">controversial bathroom bill\u003c/a>, which was ultimately struck down.\u003c/p>\n\u003cp>Finally, there’s River Gallo (they/them), who was raised as a boy — and is still misgendered by their own mother — despite being born without testes. Gallo was given prosthetic testicles in their teens and had almost no say in their medical treatment whatsoever. (Gallo also received zero professional psychological support at the time.) Despite a somewhat confusing upbringing, Gallo has since learned to fully embrace their intersex qualities. And they are all the more radiant for it.\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/SoNvk5N-MKo'\n title='//www.youtube.com/embed/SoNvk5N-MKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wall, Weigel and Gallo’s individual stories are compelling and intimately told in a way that, even if \u003cem>Every Body\u003c/em> had only focused on the trio, it would still have been an essential portrait of intersex lives and realities. Where the film goes above and beyond, however, is in how it explains the history and rationale of the medical professionals who, for so long, forced unnecessary surgical procedures on intersex infants and youth. One gets the distinct impression that these monumental decisions — attempting to force intersex children into the gender binary — were often made casually and, in many cases, without much parental input. One also gets the unsettling feeling that they are probably still happening in more places than they should be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13929913",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Every Body\u003c/em> traces the roots of these damaging practices back to a psychologist named John Money, who argued that gender identity could be fashioned externally and via social constructs, and was not in fact, self-directed. Money’s treatment of one particular patient in the 1970s, David Reimer, can only be described as an unmitigated, gut-wrenching disaster. Reimer’s story may be agonizing to watch now, but it contains essential lessons around the importance of allowing individuals — all individuals — to self-identify their own genders.\u003c/p>\n\u003cp>One is struck at the end of these engrossing 92 minutes just how misunderstood intersex people remain in 2023, and how much their stories — searing and impactful though they are — have been neglected thus far. \u003cem>Every Body\u003c/em> very effectively seeks to rectify that. Once you watch it, you’ll never forget the ‘I’ in LGBTQI ever again.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.focusfeatures.com/every-body/\">Every Body\u003c/a>’ opens in Bay Area theaters on June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13930824/every-body-intersex-documentary-lgbtqia-david-reimer-river-gallo-saifa-alicia-weigel",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_13672",
"arts_10278",
"arts_3226",
"arts_585"
],
"featImg": "arts_13931088",
"label": "arts_140"
},
"arts_13931031": {
"type": "posts",
"id": "arts_13931031",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931031",
"score": null,
"sort": [
1688047875000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1688047875,
"format": "standard",
"title": "Not Coming to a Screen Near You – Viewers Will Soon Feel Effects of the Writers Strike",
"headTitle": "Not Coming to a Screen Near You – Viewers Will Soon Feel Effects of the Writers Strike | KQED",
"content": "\u003cp>A slate of big-budget summer movies from \u003cem>Indiana Jones and the Dial of Destiny\u003c/em> to a live-action \u003cem>Barbie\u003c/em> film will be released in the coming weeks as Hollywood gears up for blockbuster season. But behind the scenes, as the Hollywood writers strike enters its third month, the impact of the current conflict between screenwriters and major film studios and streamers is coming into focus. Most productions have ground to a halt as future films and TV series are being delayed, if not canceled.\u003c/p>\n\u003cp>One of the most high-profile productions canceled by the strike is a \u003ca href=\"https://www.indiewire.com/news/breaking-news/sam-esmail-metropolis-series-scrapped-1234876313/\">new TV adaptation of Fritz Lang’s classic 1927 sci-fi film \u003cem>Metropolis\u003c/em>\u003c/a>. Apple TV+ reportedly scrapped acclaimed showrunner Sam Esmail’s years-in-the-making series just as it was supposed to begin filming this summer in Australia. Max’s new Batman spin-off series, \u003cem>The Penguin,\u003c/em> starring Colin Farrell, has also been halted, even through a teaser for the show had been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAPifwlWBP0\u003c/p>\n\u003cp>With many writers on the picket lines no longer participating in any scripting or revisions, many existing series are no longer filming. Shooting for the next season of the \u003cem>Yellowstone\u003c/em> prequel 1\u003cem>923\u003c/em> on Paramount+, starring Harrison Ford and Helen Mirren, has been suspended until the writers strike ends. Other popular shows that are not currently filming include future seasons of \u003cem>Severance\u003c/em>, \u003cem>Abbott Elementary\u003c/em>, \u003cem>Euphoria\u003c/em>, \u003cem>The Last of Us\u003c/em>, \u003cem>Cobra Kai\u003c/em> and the final season of Netflix’s \u003cem>Stranger Things\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/strangerwriters/status/1654955071631765506\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the delays aren’t all necessarily due to the strike. In recent months, studios and streamers have been consolidating and cutting costs through layoffs and cancelations. Some insiders speculate the studios may use the strike as an excuse to enact “force majeure,” contract clauses allowing them to cancel deals with creators and showrunners.\u003c/p>\n\u003cp>[aside postid='arts_13930931']It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>[aside postid='arts_13928702']The Emmy Awards, which are set to air on FOX in September, could be delayed for months. \u003ca href=\"https://www.nytimes.com/2023/06/21/business/media/emmy-awards-writers-strike.html?partner=slack&smid=sl-share\">Reports in \u003cem>The New York Times\u003c/em>\u003c/a>, \u003cem>The Hollywood Reporter\u003c/em> and other outlets suggest the organizers are discussing various contingency plans if the writers strike isn’t resolved this summer. Nominations are still scheduled to be announced Tuesday, July 12.\u003c/p>\n\u003cp>To manage the personal financial costs of a prolonged strike, many writers on the picket lines say they are relying on their fast-dwindling savings. Industry guilds, the Entertainment Community Fund, Women in Film and others have created emergency relief funds to support members.\u003c/p>\n\u003cp>https://twitter.com/jonhurwitz/status/1657094421396201473\u003c/p>\n\u003cp>The shutdowns are also impacting many others working behind the scenes on film crews, including cinematographers, editors, grips, costumers, caterers and truck drivers. According to Film LA, which handles permits for film shoots on city streets and other locations, there were only two scripted TV series shooting in Los Angeles this week. Normally at this time of year, there would be dozens of TV projects in production.\u003c/p>\n\u003cp>[aside postid='arts_13930083']The work stoppage affects many businesses that rely on the Hollywood economy, including restaurants, hotels and transportation. According to the Milken Institute, the 2008 writers strike, which lasted 100 days, cost the LA economy more than $2 billion in lost revenue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For audiences accustomed to a steady — and at times overflowing — stream of new films and TV series, this dramatic slowdown in productions will have a palpable impact in the year to come.\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=Not+coming+to+a+screen+near+you+%E2%80%93+viewers+will+soon+feel+effects+of+the+writers+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 873,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705005329,
"excerpt": "Future films and TV series are being delayed, if not canceled. The slowdown will have a major impact in the year to come.",
"headData": {
"twImgId": "",
"twTitle": "Not Coming to a Screen Near You – Viewers Will Soon Feel Effects of the Writers Strike",
"socialTitle": "The Writers’ Strike Has Halted Production on Some Major Projects%%page%% %%sep%% KQED",
"ogTitle": "Not Coming to a Screen Near You – Viewers Will Soon Feel Effects of the Writers Strike",
"ogImgId": "",
"twDescription": "",
"description": "Future films and TV series are being delayed, if not canceled. The slowdown will have a major impact in the year to come.",
"title": "The Writers’ Strike Has Halted Production on Some Major Projects | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Not Coming to a Screen Near You – Viewers Will Soon Feel Effects of the Writers Strike",
"datePublished": "2023-06-29T07:11:15-07:00",
"dateModified": "2024-01-11T12:35:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "writers-strike-canceled-shows-movies-hollywood-metropolis-sam-esmail-penguin",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1184854315&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 28 Jun 2023 15:50:27 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 28 Jun 2023 15:51:21 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/06/28/1184854315/writers-strike-production-standstill?ft=nprml&f=1184854315",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2023/06/20230628_atc_not_coming_to_a_screen_near_you_viewers_will_soon_feel_effects_of_the_writers_strike.mp3?orgId=1&topicId=1008&d=226&p=2&story=1184854315&ft=nprml&f=1184854315",
"nprAudioM3u": "http://api.npr.org/m3u/11184894615-e478a4.m3u?orgId=1&topicId=1008&d=226&p=2&story=1184854315&ft=nprml&f=1184854315",
"nprStoryId": "1184854315",
"nprByline": "Mandalit del Barco",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 28 Jun 2023 20:22:00 -0400",
"path": "/arts/13931031/writers-strike-canceled-shows-movies-hollywood-metropolis-sam-esmail-penguin",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2023/06/20230628_atc_not_coming_to_a_screen_near_you_viewers_will_soon_feel_effects_of_the_writers_strike.mp3?orgId=1&topicId=1008&d=226&p=2&story=1184854315&ft=nprml&f=1184854315",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A slate of big-budget summer movies from \u003cem>Indiana Jones and the Dial of Destiny\u003c/em> to a live-action \u003cem>Barbie\u003c/em> film will be released in the coming weeks as Hollywood gears up for blockbuster season. But behind the scenes, as the Hollywood writers strike enters its third month, the impact of the current conflict between screenwriters and major film studios and streamers is coming into focus. Most productions have ground to a halt as future films and TV series are being delayed, if not canceled.\u003c/p>\n\u003cp>One of the most high-profile productions canceled by the strike is a \u003ca href=\"https://www.indiewire.com/news/breaking-news/sam-esmail-metropolis-series-scrapped-1234876313/\">new TV adaptation of Fritz Lang’s classic 1927 sci-fi film \u003cem>Metropolis\u003c/em>\u003c/a>. Apple TV+ reportedly scrapped acclaimed showrunner Sam Esmail’s years-in-the-making series just as it was supposed to begin filming this summer in Australia. Max’s new Batman spin-off series, \u003cem>The Penguin,\u003c/em> starring Colin Farrell, has also been halted, even through a teaser for the show had been released.\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/zAPifwlWBP0'\n title='//www.youtube.com/embed/zAPifwlWBP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With many writers on the picket lines no longer participating in any scripting or revisions, many existing series are no longer filming. Shooting for the next season of the \u003cem>Yellowstone\u003c/em> prequel 1\u003cem>923\u003c/em> on Paramount+, starring Harrison Ford and Helen Mirren, has been suspended until the writers strike ends. Other popular shows that are not currently filming include future seasons of \u003cem>Severance\u003c/em>, \u003cem>Abbott Elementary\u003c/em>, \u003cem>Euphoria\u003c/em>, \u003cem>The Last of Us\u003c/em>, \u003cem>Cobra Kai\u003c/em> and the final season of Netflix’s \u003cem>Stranger Things\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1654955071631765506"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>But the delays aren’t all necessarily due to the strike. In recent months, studios and streamers have been consolidating and cutting costs through layoffs and cancelations. Some insiders speculate the studios may use the strike as an excuse to enact “force majeure,” contract clauses allowing them to cancel deals with creators and showrunners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930931",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928702",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Emmy Awards, which are set to air on FOX in September, could be delayed for months. \u003ca href=\"https://www.nytimes.com/2023/06/21/business/media/emmy-awards-writers-strike.html?partner=slack&smid=sl-share\">Reports in \u003cem>The New York Times\u003c/em>\u003c/a>, \u003cem>The Hollywood Reporter\u003c/em> and other outlets suggest the organizers are discussing various contingency plans if the writers strike isn’t resolved this summer. Nominations are still scheduled to be announced Tuesday, July 12.\u003c/p>\n\u003cp>To manage the personal financial costs of a prolonged strike, many writers on the picket lines say they are relying on their fast-dwindling savings. Industry guilds, the Entertainment Community Fund, Women in Film and others have created emergency relief funds to support members.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1657094421396201473"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The shutdowns are also impacting many others working behind the scenes on film crews, including cinematographers, editors, grips, costumers, caterers and truck drivers. According to Film LA, which handles permits for film shoots on city streets and other locations, there were only two scripted TV series shooting in Los Angeles this week. Normally at this time of year, there would be dozens of TV projects in production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930083",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The work stoppage affects many businesses that rely on the Hollywood economy, including restaurants, hotels and transportation. According to the Milken Institute, the 2008 writers strike, which lasted 100 days, cost the LA economy more than $2 billion in lost revenue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For audiences accustomed to a steady — and at times overflowing — stream of new films and TV series, this dramatic slowdown in productions will have a palpable impact in the year to come.\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=Not+coming+to+a+screen+near+you+%E2%80%93+viewers+will+soon+feel+effects+of+the+writers+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931031/writers-strike-canceled-shows-movies-hollywood-metropolis-sam-esmail-penguin",
"authors": [
"byline_arts_13931031"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_17654",
"arts_8393",
"arts_20439",
"arts_2792",
"arts_20435",
"arts_20434"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931033",
"label": "arts_137"
}
},
"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": 684,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_13931677",
"arts_13931594",
"arts_13931577",
"arts_13931543",
"arts_13931440",
"arts_13931405",
"arts_13931346",
"arts_13931287",
"arts_13931227",
"arts_13931189",
"arts_13930824",
"arts_13931031"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_14639": {
"type": "terms",
"id": "arts_14639",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14639",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cillian Murphy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cillian Murphy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14651,
"slug": "cillian-murphy",
"isLoading": false,
"link": "/arts/tag/cillian-murphy"
},
"arts_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_3410": {
"type": "terms",
"id": "arts_3410",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3410",
"found": true
},
"relationships": {},
"featImg": null,
"name": "margot robbie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "margot robbie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3422,
"slug": "margot-robbie",
"isLoading": false,
"link": "/arts/tag/margot-robbie"
},
"arts_21156": {
"type": "terms",
"id": "arts_21156",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21156",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oppenheimer",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oppenheimer Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21168,
"slug": "oppenheimer",
"isLoading": false,
"link": "/arts/tag/oppenheimer"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"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_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_2483": {
"type": "terms",
"id": "arts_2483",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2483",
"found": true
},
"relationships": {},
"name": "Exploratorium",
"slug": "exploratorium",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Exploratorium | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2495,
"isLoading": false,
"link": "/arts/tag/exploratorium"
},
"arts_3163": {
"type": "terms",
"id": "arts_3163",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3163",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Roxie Theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Roxie Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3175,
"slug": "roxie-theater",
"isLoading": false,
"link": "/arts/tag/roxie-theater"
},
"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_11906": {
"type": "terms",
"id": "arts_11906",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11906",
"found": true
},
"relationships": {},
"featImg": null,
"name": "atomic bomb",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "atomic bomb Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11918,
"slug": "atomic-bomb",
"isLoading": false,
"link": "/arts/tag/atomic-bomb"
},
"arts_11977": {
"type": "terms",
"id": "arts_11977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11977",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Christopher Nolan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Christopher Nolan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11989,
"slug": "christopher-nolan",
"isLoading": false,
"link": "/arts/tag/christopher-nolan"
},
"arts_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
},
"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_9992": {
"type": "terms",
"id": "arts_9992",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9992",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Frontline",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Frontline Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10004,
"slug": "frontline",
"isLoading": false,
"link": "/arts/tag/frontline"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_16761": {
"type": "terms",
"id": "arts_16761",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16761",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ukraine",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ukraine Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16773,
"slug": "ukraine",
"isLoading": false,
"link": "/arts/tag/ukraine"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_17559": {
"type": "terms",
"id": "arts_17559",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17559",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Queen Sugar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Queen Sugar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17571,
"slug": "queen-sugar",
"isLoading": false,
"link": "/arts/tag/queen-sugar"
},
"arts_9303": {
"type": "terms",
"id": "arts_9303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Chi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Chi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9315,
"slug": "the-chi",
"isLoading": false,
"link": "/arts/tag/the-chi"
},
"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_9693": {
"type": "terms",
"id": "arts_9693",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9693",
"found": true
},
"relationships": {},
"featImg": null,
"name": "disability",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "disability Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9705,
"slug": "disability",
"isLoading": false,
"link": "/arts/tag/disability"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_20576": {
"type": "terms",
"id": "arts_20576",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20576",
"found": true
},
"relationships": {},
"featImg": null,
"name": "summer 2023",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "summer 2023 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20588,
"slug": "summer-2023",
"isLoading": false,
"link": "/arts/tag/summer-2023"
},
"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_5426": {
"type": "terms",
"id": "arts_5426",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5426",
"found": true
},
"relationships": {},
"name": "1960s",
"slug": "1960s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1960s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 5438,
"isLoading": false,
"link": "/arts/tag/1960s"
},
"arts_10092": {
"type": "terms",
"id": "arts_10092",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10092",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Baseball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Baseball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10104,
"slug": "baseball",
"isLoading": false,
"link": "/arts/tag/baseball"
},
"arts_20131": {
"type": "terms",
"id": "arts_20131",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20131",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jackie Robinson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jackie Robinson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20143,
"slug": "jackie-robinson",
"isLoading": false,
"link": "/arts/tag/jackie-robinson"
},
"arts_11986": {
"type": "terms",
"id": "arts_11986",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11986",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Major League Baseball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Major League Baseball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11998,
"slug": "major-league-baseball",
"isLoading": false,
"link": "/arts/tag/major-league-baseball"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_13689": {
"type": "terms",
"id": "arts_13689",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13689",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Adele Lim",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Adele Lim Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13701,
"slug": "adele-lim",
"isLoading": false,
"link": "/arts/tag/adele-lim"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_12927": {
"type": "terms",
"id": "arts_12927",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12927",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Orson Welles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Orson Welles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12939,
"slug": "orson-welles",
"isLoading": false,
"link": "/arts/tag/orson-welles"
},
"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_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_17654": {
"type": "terms",
"id": "arts_17654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Duffer brothers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Duffer brothers Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17666,
"slug": "duffer-brothers",
"isLoading": false,
"link": "/arts/tag/duffer-brothers"
},
"arts_8393": {
"type": "terms",
"id": "arts_8393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hollywood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hollywood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8405,
"slug": "hollywood",
"isLoading": false,
"link": "/arts/tag/hollywood"
},
"arts_20439": {
"type": "terms",
"id": "arts_20439",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20439",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SAG-AFTRA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SAG-AFTRA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20451,
"slug": "sag-aftra",
"isLoading": false,
"link": "/arts/tag/sag-aftra"
},
"arts_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"arts_20435": {
"type": "terms",
"id": "arts_20435",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20435",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Writers Guild of America",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Writers Guild of America Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20447,
"slug": "writers-guild-of-america",
"isLoading": false,
"link": "/arts/tag/writers-guild-of-america"
},
"arts_20434": {
"type": "terms",
"id": "arts_20434",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20434",
"found": true
},
"relationships": {},
"featImg": null,
"name": "writers strike",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "writers strike Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20446,
"slug": "writers-strike",
"isLoading": false,
"link": "/arts/tag/writers-strike"
}
},
"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
}
}