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_13903994": {
"type": "attachments",
"id": "arts_13903994",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903994",
"found": true
},
"parent": 13903591,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-160x105.png",
"width": 160,
"mimeType": "image/png",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM.png",
"width": 1918,
"height": 1254
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-1020x667.png",
"width": 1020,
"mimeType": "image/png",
"height": 667
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-1536x1004.png",
"width": 1536,
"mimeType": "image/png",
"height": 1004
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-800x523.png",
"width": 800,
"mimeType": "image/png",
"height": 523
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-09-29-at-4.28.01-PM-768x502.png",
"width": 768,
"mimeType": "image/png",
"height": 502
}
},
"publishDate": 1632958134,
"modified": 1632958327,
"caption": "Laura Krolczyk was publicly shamed for making some indelicate comments about Trump supporters on her Facebook page. She is featured in new HBO documentary, '15 Minutes of Shame'.",
"description": "Laura Krolczyk was publicly shamed for making some indelicate comments about Trump supporters on her Facebook page. She is featured in new HBO documentary, '15 Minutes of Shame'.",
"title": "Laura Krolczyk was publicly shamed for making some indelicate comments about Trump supporters on her Facebook page. She is featured in new HBO documentary, '15 Minutes of Shame'.",
"credit": "Courtesy of HBO Max",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903989": {
"type": "attachments",
"id": "arts_13903989",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903989",
"found": true
},
"parent": 13903988,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-scaled-e1632957686854.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/image-from-ios-1a760089caa34e01fbf409b3a546ee8b39a76fb0-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1632956645,
"modified": 1632957716,
"caption": "Britney Spears supporter Peter Stickles was among those demonstrating outside of Los Angeles Superior Court Wednesday.",
"description": "Britney Spears supporter Peter Stickles was among those demonstrating outside of Los Angeles Superior Court Wednesday.",
"title": "Britney Spears supporter Peter Stickles was among those demonstrating outside of Los Angeles Superior Court Wednesday.",
"credit": "Liz Baker/NPR",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903971": {
"type": "attachments",
"id": "arts_13903971",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903971",
"found": true
},
"parent": 13903966,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-e1632939195470.png",
"width": 1920,
"height": 1269
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-2048x1353.png",
"width": 2048,
"mimeType": "image/png",
"height": 1353
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-1020x674.png",
"width": 1020,
"mimeType": "image/png",
"height": 674
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-1536x1015.png",
"width": 1536,
"mimeType": "image/png",
"height": 1015
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-1920x1269.png",
"width": 1920,
"mimeType": "image/png",
"height": 1269
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-800x529.png",
"width": 800,
"mimeType": "image/png",
"height": 529
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-29-at-11.12.14-AM-768x508.png",
"width": 768,
"mimeType": "image/png",
"height": 508
}
},
"publishDate": 1632939162,
"modified": 1632939302,
"caption": "A colorful artist's rendition of Tarana Burke on the cover of her new memoir, 'Unbound: My Story of Liberation and the Birth of the Me Too Movement.'",
"description": "A colorful artist's rendition of Tarana Burke on the cover of her new memoir, 'Unbound: My Story of Liberation and the Birth of the Me Too Movement.'",
"title": "A colorful artist's rendition of Tarana Burke on the cover of her new memoir, 'Unbound: My Story of Liberation and the Birth of the Me Too Movement.'",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903896": {
"type": "attachments",
"id": "arts_13903896",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903896",
"found": true
},
"parent": 13903795,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-160x114.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 114
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-scaled.jpg",
"width": 2560,
"height": 1829
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-2048x1463.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1463
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-1020x729.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 729
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-1536x1097.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1097
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-1920x1371.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1371
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-800x571.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 571
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-610280976-768x549.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 549
}
},
"publishDate": 1632862588,
"modified": 1632862685,
"caption": "Britney Spears performing at an iHeartRadio event in Las Vegas, 2016.",
"description": "Britney Spears performing at an iHeartRadio event in Las Vegas, 2016.",
"title": "Britney Spears performing at an iHeartRadio event in Las Vegas, 2016.",
"credit": "Isaac Brekken/Getty Images for iHeartMedia",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903780": {
"type": "attachments",
"id": "arts_13903780",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903780",
"found": true
},
"parent": 13903779,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-scaled-e1632506944104.jpe",
"width": 1920,
"height": 1079
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-2048x1151.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1151
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-1020x573.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-1920x1079.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-1_wide-9a46e7877d8b41aa4d6a6cc278c4cda241d8187e-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1632505765,
"modified": 1632507131,
"caption": "'The Wonder Years' is a coming-of-age story that takes a nostalgic look at a Black middle-class family in Montgomery, Alabama, through the point of view of 12-year-old Dean. (L-R) Laura Kariuki, Elisha Williams, Saycon Sengbloh and Dule Hill star as the Williams family.",
"description": "'The Wonder Years' is a coming-of-age story that takes a nostalgic look at a Black middle-class family in Montgomery, Alabama, through the point of view of 12-year-old Dean. (L-R) Laura Kariuki, Elisha Williams, Saycon Sengbloh and Dule Hill star as the Williams family.",
"title": "'The Wonder Years' is a coming-of-age story that takes a nostalgic look at a Black middle-class family in Montgomery, Alabama, through the point of view of 12-year-old Dean. (L-R) Laura Kariuki, Elisha Williams, Saycon Sengbloh and Dule Hill star as the Williams family.",
"credit": "Erika Doss/ABC",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903691": {
"type": "attachments",
"id": "arts_13903691",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903691",
"found": true
},
"parent": 13903685,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-scaled.jpg",
"width": 2560,
"height": 1702
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-2048x1361.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1361
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-1536x1021.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1021
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-1920x1276.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1276
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1205845870-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1632358799,
"modified": 1632358905,
"caption": "Nicki Minaj and Kenneth \"Zoo\" Petty at New York Fashion Week, February 2020.",
"description": "Nicki Minaj and Kenneth \"Zoo\" Petty at New York Fashion Week, February 2020.",
"title": "Nicki Minaj and Kenneth \"Zoo\" Petty at New York Fashion Week, February 2020.",
"credit": "Jamie McCarthy/Getty Images for Marc Jacobs",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903608": {
"type": "attachments",
"id": "arts_13903608",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903608",
"found": true
},
"parent": 13903607,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4.jpg",
"width": 1454,
"height": 818
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/anm-012007_wide-52104cef7b9961466660db4f84c60d8ab4fdd1d4-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1632333210,
"modified": 1632333926,
"caption": "In \"The Twins,\" an episode of 'Star Wars: Visions,' siblings Karre and Am square off.",
"description": "In \"The Twins,\" an episode of 'Star Wars: Visions,' siblings Karre and Am square off.",
"title": "In \"The Twins,\" an episode of 'Star Wars: Visions,' siblings Karre and Am square off.",
"credit": "Lucasfilm Ltd.",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903602": {
"type": "attachments",
"id": "arts_13903602",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903602",
"found": true
},
"parent": 13903595,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-160x115.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 115
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-scaled.jpg",
"width": 2560,
"height": 1837
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-2048x1470.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1470
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-1020x732.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 732
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-1536x1102.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1102
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-1920x1378.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1378
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-800x574.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 574
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-81661831-768x551.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 551
}
},
"publishDate": 1632293155,
"modified": 1632293214,
"caption": "Willie Garson, in Las Vegas in 2008.",
"description": "Willie Garson, in Las Vegas in 2008.",
"title": "Willie Garson, in Las Vegas in 2008.",
"credit": "Ethan Miller/Getty Images for CineVegas",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903561": {
"type": "attachments",
"id": "arts_13903561",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903561",
"found": true
},
"parent": 13903555,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-160x95.png",
"width": 160,
"mimeType": "image/png",
"height": 95
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM.png",
"width": 3078,
"height": 1820
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-2048x1211.png",
"width": 2048,
"mimeType": "image/png",
"height": 1211
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-1020x603.png",
"width": 1020,
"mimeType": "image/png",
"height": 603
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-1536x908.png",
"width": 1536,
"mimeType": "image/png",
"height": 908
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-1920x1135.png",
"width": 1920,
"mimeType": "image/png",
"height": 1135
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-800x473.png",
"width": 800,
"mimeType": "image/png",
"height": 473
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-21-at-1.44.33-PM-768x454.png",
"width": 768,
"mimeType": "image/png",
"height": 454
}
},
"publishDate": 1632257093,
"modified": 1632257198,
"caption": "JoJo Siwa, performing on the Season 30 premiere of 'Dancing With the Stars'.",
"description": "JoJo Siwa, performing on the Season 30 premiere of 'Dancing With the Stars'.",
"title": "JoJo Siwa, performing on the Season 30 premiere of 'Dancing With the Stars'.",
"credit": "YouTube/ Dancing With the Stars",
"status": "inherit",
"altTag": "JoJo Siwa, wearing a neon green top with giant orange bow on the shower, smiles with her hair full of pink glitter.",
"isLoading": false,
"fetchFailed": false
},
"arts_13903484": {
"type": "attachments",
"id": "arts_13903484",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903484",
"found": true
},
"parent": 13903474,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-scaled.jpg",
"width": 2560,
"height": 1706
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375125-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1632157933,
"modified": 1632158003,
"caption": "(L-R) Moses Ingram, Anya Taylor-Joy, and Marielle Heller pose in the press room during the 73rd Primetime Emmy Awards in Los Angeles. ",
"description": "(L-R) Moses Ingram, Anya Taylor-Joy, and Marielle Heller pose in the press room during the 73rd Primetime Emmy Awards in Los Angeles. ",
"title": "(L-R) Moses Ingram, Anya Taylor-Joy, and Marielle Heller pose in the press room during the 73rd Primetime Emmy Awards in Los Angeles.",
"credit": "Rich Fury/Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903333": {
"type": "attachments",
"id": "arts_13903333",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903333",
"found": true
},
"parent": 13903332,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-160x121.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 121
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-scaled-e1631839036205.jpg",
"width": 1920,
"height": 1449
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-2048x1546.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1546
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-1020x770.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 770
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-1536x1159.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1159
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-1920x1449.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1449
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-800x604.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 604
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap20041100982264_custom-0928cc3f858db2560e179250f32738214f7d8e6f-768x580.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 580
}
},
"publishDate": 1631837545,
"modified": 1631839089,
"caption": "This year's Broadway-adapted movie 'In the Heights,' starring actor Anthony Ramos—pictured alongside actress Jasmine Cephas Jones—is a rare exception to Hollywood's pattern of excluding Latino narratives.",
"description": "This year's Broadway-adapted movie 'In the Heights,' starring actor Anthony Ramos—pictured alongside actress Jasmine Cephas Jones—is a rare exception to Hollywood's pattern of excluding Latino narratives.",
"title": "This year's Broadway-adapted movie 'In the Heights,' starring actor Anthony Ramos—pictured alongside actress Jasmine Cephas Jones—is a rare exception to Hollywood's pattern of excluding Latino narratives.",
"credit": "John Locher/AP",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13903304": {
"type": "attachments",
"id": "arts_13903304",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903304",
"found": true
},
"parent": 13903303,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-160x78.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 78
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-scaled-e1631833390540.jpg",
"width": 1920,
"height": 941
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-2048x1004.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1004
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-1020x500.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 500
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-1536x753.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 753
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-1920x941.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 941
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-800x392.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 392
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/dipfina_custom-05d28bf6f2b2dd85594477ab7eeb20525a3d06a8-768x376.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 376
}
},
"publishDate": 1631833055,
"modified": 1631833436,
"caption": "(L-R) Julianne Hough, Priyanka Chopra Jonas and Usher will host the show.",
"description": "(L-R) Julianne Hough, Priyanka Chopra Jonas and Usher will host the show.",
"title": "(L-R) Julianne Hough, Priyanka Chopra Jonas and Usher will host the show.",
"credit": "Kevin Winter/Getty Images; Jeff Spicer/Getty Images; Paras Griffin/Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13903988": {
"type": "authors",
"id": "byline_arts_13903988",
"meta": {
"override": true
},
"slug": "byline_arts_13903988",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13903966": {
"type": "authors",
"id": "byline_arts_13903966",
"meta": {
"override": true
},
"slug": "byline_arts_13903966",
"name": "Tonya Mosley",
"isLoading": false
},
"byline_arts_13903779": {
"type": "authors",
"id": "byline_arts_13903779",
"meta": {
"override": true
},
"slug": "byline_arts_13903779",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13903607": {
"type": "authors",
"id": "byline_arts_13903607",
"meta": {
"override": true
},
"slug": "byline_arts_13903607",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13903595": {
"type": "authors",
"id": "byline_arts_13903595",
"meta": {
"override": true
},
"slug": "byline_arts_13903595",
"name": "The Associated Press",
"isLoading": false
},
"byline_arts_13903474": {
"type": "authors",
"id": "byline_arts_13903474",
"meta": {
"override": true
},
"slug": "byline_arts_13903474",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13903332": {
"type": "authors",
"id": "byline_arts_13903332",
"meta": {
"override": true
},
"slug": "byline_arts_13903332",
"name": "Emma Bowman",
"isLoading": false
},
"byline_arts_13903303": {
"type": "authors",
"id": "byline_arts_13903303",
"meta": {
"override": true
},
"slug": "byline_arts_13903303",
"name": "Becky Sullivan",
"isLoading": false
},
"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": [],
"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": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"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"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.408306
},
"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,
"title": "Pop Culture",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 107
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 107
}
},
{
"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_13903591": {
"type": "posts",
"id": "arts_13903591",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903591",
"score": null,
"sort": [
1633366817000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1633366817,
"format": "standard",
"title": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"headTitle": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming | KQED",
"content": "\u003cp>In 2021, how you perceive online shaming campaigns often has a great deal to do with your political leanings. In the broadest of terms, if you fall on the right, it’s called “cancel culture”—a merciless, life-ruining takedown of fallible human beings. On the left, it’s called “consequence culture”—wrongdoers being held accountable for their own awful behavior. Now, a new documentary called \u003ci>\u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">15 Minutes of Shame\u003c/a>\u003c/i>—executive produced by Monica Lewinsky and directed by Max Joseph—is here to fill out the space in between. And it is a thoroughly enlightening, if anxiety-inducing, watch.\u003c/p>\n\u003cp>Lewinsky’s involvement here is key. In the film’s introduction, she refers to herself as “Patient Zero of having a reputation completely destroyed, worldwide, because of the internet.” And while that is an accurate assessment, \u003cem>15 Minutes\u003c/em> is not here to tell you the unfettered power of the internet is an exclusively bad thing. If anything, its end goal is to insert into these narratives the thing that is so often missing on the internet: humanity in all of its shades of gray.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhJrnNdH-aw\u003c/p>\n\u003cp>Like Jon Ronson’s excellent 2015 book, \u003cem>So You’ve Been Publicly Shamed\u003c/em>, \u003cem>15 Minutes\u003c/em> focuses not on humiliated celebrities, but rather a handful of everyday people whose lives have been decimated by their online characterizations. There’s Matt Colvin, \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guy who bought up 17,700 bottles of hand sanitizer\u003c/a> at the start of the pandemic. There’s Emmanuel Cafferty, a Latino employee of San Diego Gas and Electric who lost his job after a member of the public accused him of making a white power hand gesture. And there’s Laura Krolczyk, who, in a fit of frustration with COVID deniers, wrote on her Facebook page: “Trump supporters need to pledge to give up their ventilators for someone else.”\u003c/p>\n\u003cp>[aside postid='arts_10583072']The documentary allows each of these figures some space to explain themselves, but the point is not to vindicate them. The point is to take a deep dive into the cultural, social and psychological drivers behind internet take-downs. And it’s in those moments that \u003cem>15 Minutes\u003c/em> does its most interesting work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary sketches a fascinating “brief history of public shaming,” starting at the dawn of civilization, running through the introduction of the pillory, and then onto the invention of the printing press, tabloids and, finally, the internet. At one point, while talking about punishments doled out in town squares hundreds of years ago, cultural historian Dr. Tiffany Watt says: “This is a person who is suffering because they’ve done something wrong. And we have to punish them in order to tell everyone else not to do the same thing.” It’s clear in that moment the impulse to publicly shame is a thread that’s been present throughout history, and that the internet is merely the latest conduit for it.\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> excels when discussing the psychology behind internet pile-ons. UCSF neuroscientist and psychologist Dr. Helen Weng explains why it’s harder for our brains to recognize people as full humans when we can’t see their faces and body language. Watt shares that one study of soccer fans found they felt a greater sense of joy from seeing rival teams fail than they did from seeing their own teams score. “What that showed,” Watt notes, “is that we enjoy seeing other people fail more than we enjoy winning, ourselves.” Being divided into “rival tribes,” Watt adds, “is a very, very dangerous place for a society to be in.”\u003c/p>\n\u003cp>The cultural commentators throughout \u003cem>15 Minutes of Shame\u003c/em> offer up similarly thought-provoking analysis. Segments with Roxane Gay perfectly encapsulate the struggles of online discourse. On one hand, Gay talks about why fighting back online is so necessary. “People are so unseen and so unheard and they’ve been so unrepresented for so long, and you see something done about it. That is incredibly satisfying.” On the other hand, Gay acknowledges the deep flaws of the format. “People love to say … ‘I am not responsible for dehumanizing the person, the internet is,’” she notes. “The internet is there, but we are responsible for the ways in which we dehumanize each other.”\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> also takes the time to find out how tech companies are complicit in that dehumanization. Technology ethicist Tristan Harris, a former Google employee, explains: “One NYU study found that for every word of moral outrage—negative human emotions—that you added to a tweet … it increased the retweet rate by 13%.” Harris goes on to compare Twitter’s algorithm to rubbernecking. Its desire, he notes, is to feed us “car crash after car crash after car crash.”\u003c/p>\n\u003cp>[aside postid='arts_13902631']Ultimately, \u003cem>15 Minutes of Shame\u003c/em> is a documentary that, on the surface, seeks to capture our global online culture at this time and in this place. But it also contextualizes how we got here and, importantly, makes some suggestions as to how we can get better at handling it.\u003c/p>\n\u003cp>Lewinsky bookends the film with a single proposition: “Imagine waking up one morning with the whole world suddenly knowing your name.” But, at the end of the 86-minute film, she adds a question. “What kind of world do you want that to be?” You’ll have a much better idea after watching \u003cem>15 Minutes of Shame\u003c/em>.\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>\u003cem>‘15 Minutes of Shame’ begins streaming Thursday, Oct. 7, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 978,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705007663,
"excerpt": "The Monica Lewinsky-produced documentary examines the root causes of our fractious modern obsession.",
"headData": {
"twImgId": "",
"twTitle": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"socialTitle": "Review: HBO’s ‘15 Minutes of Shame’ %%page%% %%sep%% KQED",
"ogTitle": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"ogImgId": "",
"twDescription": "",
"description": "The Monica Lewinsky-produced documentary examines the root causes of our fractious modern obsession.",
"title": "Review: HBO’s ‘15 Minutes of Shame’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "HBO’s ‘15 Minutes of Shame’ Smartly Unpacks Our Culture of Public Shaming",
"datePublished": "2021-10-04T10:00:17-07:00",
"dateModified": "2024-01-11T13:14:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hbo-15-minutes-of-shame-monica-lewinsky",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13903591/hbo-15-minutes-of-shame-monica-lewinsky",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2021, how you perceive online shaming campaigns often has a great deal to do with your political leanings. In the broadest of terms, if you fall on the right, it’s called “cancel culture”—a merciless, life-ruining takedown of fallible human beings. On the left, it’s called “consequence culture”—wrongdoers being held accountable for their own awful behavior. Now, a new documentary called \u003ci>\u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">15 Minutes of Shame\u003c/a>\u003c/i>—executive produced by Monica Lewinsky and directed by Max Joseph—is here to fill out the space in between. And it is a thoroughly enlightening, if anxiety-inducing, watch.\u003c/p>\n\u003cp>Lewinsky’s involvement here is key. In the film’s introduction, she refers to herself as “Patient Zero of having a reputation completely destroyed, worldwide, because of the internet.” And while that is an accurate assessment, \u003cem>15 Minutes\u003c/em> is not here to tell you the unfettered power of the internet is an exclusively bad thing. If anything, its end goal is to insert into these narratives the thing that is so often missing on the internet: humanity in all of its shades of gray.\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/dhJrnNdH-aw'\n title='//www.youtube.com/embed/dhJrnNdH-aw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Jon Ronson’s excellent 2015 book, \u003cem>So You’ve Been Publicly Shamed\u003c/em>, \u003cem>15 Minutes\u003c/em> focuses not on humiliated celebrities, but rather a handful of everyday people whose lives have been decimated by their online characterizations. There’s Matt Colvin, \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guy who bought up 17,700 bottles of hand sanitizer\u003c/a> at the start of the pandemic. There’s Emmanuel Cafferty, a Latino employee of San Diego Gas and Electric who lost his job after a member of the public accused him of making a white power hand gesture. And there’s Laura Krolczyk, who, in a fit of frustration with COVID deniers, wrote on her Facebook page: “Trump supporters need to pledge to give up their ventilators for someone else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10583072",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary allows each of these figures some space to explain themselves, but the point is not to vindicate them. The point is to take a deep dive into the cultural, social and psychological drivers behind internet take-downs. And it’s in those moments that \u003cem>15 Minutes\u003c/em> does its most interesting work.\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 documentary sketches a fascinating “brief history of public shaming,” starting at the dawn of civilization, running through the introduction of the pillory, and then onto the invention of the printing press, tabloids and, finally, the internet. At one point, while talking about punishments doled out in town squares hundreds of years ago, cultural historian Dr. Tiffany Watt says: “This is a person who is suffering because they’ve done something wrong. And we have to punish them in order to tell everyone else not to do the same thing.” It’s clear in that moment the impulse to publicly shame is a thread that’s been present throughout history, and that the internet is merely the latest conduit for it.\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> excels when discussing the psychology behind internet pile-ons. UCSF neuroscientist and psychologist Dr. Helen Weng explains why it’s harder for our brains to recognize people as full humans when we can’t see their faces and body language. Watt shares that one study of soccer fans found they felt a greater sense of joy from seeing rival teams fail than they did from seeing their own teams score. “What that showed,” Watt notes, “is that we enjoy seeing other people fail more than we enjoy winning, ourselves.” Being divided into “rival tribes,” Watt adds, “is a very, very dangerous place for a society to be in.”\u003c/p>\n\u003cp>The cultural commentators throughout \u003cem>15 Minutes of Shame\u003c/em> offer up similarly thought-provoking analysis. Segments with Roxane Gay perfectly encapsulate the struggles of online discourse. On one hand, Gay talks about why fighting back online is so necessary. “People are so unseen and so unheard and they’ve been so unrepresented for so long, and you see something done about it. That is incredibly satisfying.” On the other hand, Gay acknowledges the deep flaws of the format. “People love to say … ‘I am not responsible for dehumanizing the person, the internet is,’” she notes. “The internet is there, but we are responsible for the ways in which we dehumanize each other.”\u003c/p>\n\u003cp>\u003cem>15 Minutes\u003c/em> also takes the time to find out how tech companies are complicit in that dehumanization. Technology ethicist Tristan Harris, a former Google employee, explains: “One NYU study found that for every word of moral outrage—negative human emotions—that you added to a tweet … it increased the retweet rate by 13%.” Harris goes on to compare Twitter’s algorithm to rubbernecking. Its desire, he notes, is to feed us “car crash after car crash after car crash.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902631",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, \u003cem>15 Minutes of Shame\u003c/em> is a documentary that, on the surface, seeks to capture our global online culture at this time and in this place. But it also contextualizes how we got here and, importantly, makes some suggestions as to how we can get better at handling it.\u003c/p>\n\u003cp>Lewinsky bookends the film with a single proposition: “Imagine waking up one morning with the whole world suddenly knowing your name.” But, at the end of the 86-minute film, she adds a question. “What kind of world do you want that to be?” You’ll have a much better idea after watching \u003cem>15 Minutes of Shame\u003c/em>.\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>\u003cem>‘15 Minutes of Shame’ begins streaming Thursday, Oct. 7, on HBO Max. \u003ca href=\"https://www.hbomax.com/coming-soon/15-minutes-of-shame\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903591/hbo-15-minutes-of-shame-monica-lewinsky",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_1934",
"arts_10278",
"arts_2304",
"arts_8350",
"arts_2137",
"arts_1553"
],
"featImg": "arts_13903994",
"label": "arts"
},
"arts_13903988": {
"type": "posts",
"id": "arts_13903988",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903988",
"score": null,
"sort": [
1632957869000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1632957869,
"format": "standard",
"title": "A Judge Suspends Britney Spears' Dad From Her Conservatorship",
"headTitle": "A Judge Suspends Britney Spears’ Dad From Her Conservatorship | KQED",
"content": "\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13903795,pop_111253']The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 725,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705007674,
"excerpt": "Judge Brenda Penny just suspended Jamie Spears from controlling Britney's financial affairs. The #FreeBritney folks are elated.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Judge Brenda Penny just suspended Jamie Spears from controlling Britney's financial affairs. The #FreeBritney folks are elated.",
"title": "A Judge Suspends Britney Spears' Dad From Her Conservatorship | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Judge Suspends Britney Spears' Dad From Her Conservatorship",
"datePublished": "2021-09-29T16:24:29-07:00",
"dateModified": "2024-01-11T13:14:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-judge-suspends-britney-spears-dad-from-her-conservatorship",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1041473650&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 29 Sep 2021 18:28:17 -0400",
"nprLastModifiedDate": "Wed, 29 Sep 2021 18:49:47 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/29/1041473650/britney-spears-conservatorship-dad-jamie-spears-suspended?ft=nprml&f=1041473650",
"nprImageAgency": "NPR",
"nprStoryId": "1041473650",
"nprByline": "Mandalit del Barco",
"sticky": false,
"nprImageCredit": "Liz Baker",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 29 Sep 2021 18:49:00 -0400",
"path": "/arts/13903988/a-judge-suspends-britney-spears-dad-from-her-conservatorship",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13899317",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\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>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903795,pop_111253",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903988/a-judge-suspends-britney-spears-dad-from-her-conservatorship",
"authors": [
"byline_arts_13903988"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_13475",
"arts_10387"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903989",
"label": "arts_137"
},
"arts_13903966": {
"type": "posts",
"id": "arts_13903966",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903966",
"score": null,
"sort": [
1632940359000
]
},
"guestAuthors": [],
"slug": "me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored",
"title": "'Me Too' Founder Tarana Burke Says Black Girls' Trauma Shouldn't Be Ignored",
"publishDate": 1632940359,
"format": "standard",
"headTitle": "‘Me Too’ Founder Tarana Burke Says Black Girls’ Trauma Shouldn’t Be Ignored | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em> \u003cem>This interview includes a discussion of rape and sexual abuse\u003c/em>\u003c/p>\n\u003cp>In 2017, \u003cem>The New York Times\u003c/em> published \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">a story\u003c/a> chronicling decades of sexual harassment abuse against Hollywood producer Harvey Weinstein. Less than three years later, a Manhattan jury found Weinstein \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\" target=\"_blank\" rel=\"noopener noreferrer\">guilty\u003c/a> of rape and sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_13903968\" class=\"wp-caption alignright\" style=\"max-width: 431px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg\" alt=\"\" width=\"431\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg 431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274-160x120.jpg 160w\" sizes=\"auto, (max-width: 431px) 100vw, 431px\">\u003cfigcaption class=\"wp-caption-text\">Activist Tarana Burke founded the Me Too movement in 2006 as a way for Black girls to share their stories of sexual trauma. \u003ccite>(Dougal Macarthur/Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist \u003ca href=\"https://www.npr.org/2019/02/01/689483577/tarana-burke-how-can-we-build-a-world-where-people-dont-have-to-say-me-too\" target=\"_blank\" rel=\"noopener noreferrer\">Tarana Burke\u003c/a>, the founder of the “Me Too” movement, sees a stark contrast in the timeline of Weinstein’s case and that of R&B singer R. Kelly, who dodged accusations for more than 25 years before finally being \u003ca href=\"https://www.kqed.org/arts/13903808/r-kelly-found-guilty-of-racketeering-and-sex-trafficking\" target=\"_blank\" rel=\"noopener noreferrer\">convicted\u003c/a> on Sept. 28 of sexual exploitation of a child, bribery, racketeering and sex trafficking.\u003c/p>\n\u003cp>“We are socialized to respond to the vulnerability of white women, and it’s a truth that is hard for some people to look in the face, and they feel uncomfortable when I say things like that,” she says. “But it is true. … [There’s a] stark difference in what it takes to get attention around Black women and girls.”\u003c/p>\n\u003cp>Burke has spent decades listening to Black and minority communities. She originated the phrase and concept of “Me Too” in 2006 as a way for victims of sexual violence to share their stories and connect with others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, when the #MeToo hashtag went viral in response to the Weinstein allegations, Burke worried that her work would be erased. She was also concerned that the women telling their stories on the internet were opening themselves up to harm.\u003c/p>\n\u003cp>“I thought, God, these people are going to cut and bleed all over the internet, which is the very worst place to be exposed and vulnerable in this moment,” she says.\u003c/p>\n\u003cp>But as she read the #MeToo stories women were sharing, she was blown away. Burke shifted her perspective to the “30,000 foot view,” and saw something much bigger than she had ever imagined unfolding. She also realized that in order to fully help women heal, she needed to tell her own “Me Too” story. She does that in the new memoir, \u003cem>Unbound: My Story of Liberation and the Birth of the Me Too Movement.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the shame she experienced after being raped at age 7, and the duality of being good or bad \u003c/strong>\u003c/p>\n\u003cp>[The shame comes from] not being able to protect yourself, and then the shame of breaking the rules. When we’re children it’s sort of cut and dry: You’re either good or you’re bad. There’s not really an in between. And when you are given a message over and over and over and over again, it says, “Don’t let anybody touch your private parts. Those are nasty things. Those are fresh things. Those are things that fast girls or bad girls do.” And you find yourself in this situation at a very young age. You’re either one or the other: You’re good or you’re bad. And there’s a lot of shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>On reading \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Maya Angelou\u003c/strong>\u003c/a>\u003cstrong>‘s \u003c/strong>\u003cstrong>\u003cem>I Know Why the Caged Bird Sings\u003c/em>\u003c/strong>\u003cstrong> and learning for the first time she wasn’t alone in her experience of sexual assault \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_108956']It opened my mind up to the idea that, first of all, that this could happen to other people. I didn’t even think about other girls. When I read it, I thought, even then, it’s just me and Maya Angelou, because this is somebody else that this happened to, and it made me wonder why God would let something like this happen to a good girl. Because in the book, I’m perceiving her as different than me. She was a good girl. She listened to her grandma. She did what she was supposed to do. She did her work. She got her chores. Why did this happen to her? It was such a beautiful thing for me to have that connection. I felt just less alone to have a story in the world that I could even connect to.\u003c/p>\n\u003cp>\u003cstrong>On doing a lot of self work to realize that the reason why she was abused had nothing to do with her \u003c/strong>\u003c/p>\n\u003cp>I often wonder why this person picked me. It could be something that he saw in my personality. It could be any number of things, but it’s all the depravity in his mind, it had nothing to do with who I was as a child or anything that I did as a child. There’s been all kinds of research, and we’ve seen stories, even anecdotal stories of predators telling about how they pick the children that they decide to go after and why. Maybe it’s the quiet child, maybe it’s the loud child. … They all have their reasons, but none of those reasons are connected to me, none of them were connected to me being a particular type of girl this happened to, which is what I put in my mind: “I’m the type of girl this happens to.” I had to work, go through a whole bunch of steps, to take the blame from myself and put it where it rightfully belonged. Take the burden from myself and lay it at the feet of the people who actually should hold that. That took a lot of work.\u003c/p>\n\u003cp>\u003cstrong>On seeing trauma in communities of color and how Black and brown girls are labeled as “angry” \u003c/strong>\u003c/p>\n\u003cp>I think when you couple the messages that we receive from the world about who we are and how we show up and how we should be valued with this kind of abuse, that it creates this really disturbing mixture of emotions and bad thoughts … And so I think a lot of little Black and brown girls internalize it, and then we see it come out in anger and behavior and things like that. But nobody tends to ask us those questions about where that came from. So it’s just a label, “these little Black girls with these attitudes,” “these little angry Black girls.” … We don’t get the questions that say, “Well, where did this come from?” …\u003c/p>\n\u003cp>This is a child, and children aren’t born angry. They aren’t born with attitudes. Something has to happen. Something has to have affected them in order to bring that about. Obviously, it’s not only sexual trauma, but there is trauma. And knowing that there’s so much trauma in communities of color, you would think that the first place that people would go is: “What happened?”\u003c/p>\n\u003cp>\u003cstrong>On how she coped with her own shame and trauma by being an overachiever \u003c/strong>\u003c/p>\n\u003cp>I think generally we’ve gotten so many messages about what sexual violence looks like and how it shows up in young survivors, in particular, and so we look for the sad girls and the girls who might be cutting or harming themselves in some way, or the girls who retreat from society. And those are also markers. But the overachieving perfectionists, melt-down-at-getting-a-B girls are also going through something. And that’s who I was.\u003c/p>\n\u003cp>\u003cstrong>On learning how to be an organizer and an activist at a young age in the “\u003ca href=\"https://www.alabama21cclc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century\u003c/a>” program in Alabama \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_98421']21st Century was life-changing from the moment I walked in the door and saw the young people dancing and singing freely to taking these sessions, going to these training sessions where I was literally learning to be an organizer, how to put together a campaign. … These were the first people to tell me, “You’re a leader now.” And it allowed me to exercise … a different kind of freedom to speak up and use my voice and say that my voice was valuable. And so it really just changed how I thought about myself, but also it gave me my vision of who I would be in the future. I had never seen anything like it, experienced anything like it. And I just wanted to be a part of it.\u003c/p>\n\u003cp>21st Century, the organization, was founded in Selma, Ala., and the founders were veterans of all of the civil rights movement, Black Power movement, labor movement, co-op movement. Like all of these various movements that came out of the ’60s and ’70s, these social justice movements. And so you’re no different than the young leaders in SNCC [the Student Nonviolent Coordinating Committee] in the 1960s—they were teenagers too. And [21st Century] told us stories of children, young people, who made a difference. They gave us leadership development, taught us organizing skills and sent us off into the world. I was like, “I have found my calling. This is it.” That was my tribe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Me+Too%27+Founder+Tarana+Burke+Says+Black+Girls%27+Trauma+Shouldn%27t+Be+Ignored&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "Burke says she was worried when #MeToo went viral that women would suffer abuse online—and that her work would be erased. ",
"status": "publish",
"parent": 0,
"modified": 1782406599,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1598
},
"headData": {
"title": "'Me Too' Founder Tarana Burke Says Black Girls' Trauma Shouldn't Be Ignored | KQED",
"description": "Burke says she was worried when #MeToo went viral that women would suffer abuse online—and that her work would be erased. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Me Too' Founder Tarana Burke Says Black Girls' Trauma Shouldn't Be Ignored",
"datePublished": "2021-09-29T11:32:39-07:00",
"dateModified": "2026-06-25T09:56:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 75,
"slug": "popculture",
"name": "Pop Culture"
},
"sticky": false,
"nprByline": "Tonya Mosley",
"nprImageAgency": "Flatiron Books",
"nprStoryId": "1041362145",
"nprApiLink": "http://api.npr.org/query?id=1041362145&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2021/09/29/1041362145/me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored?ft=nprml&f=1041362145",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 29 Sep 2021 13:20:00 -0400",
"nprStoryDate": "Wed, 29 Sep 2021 12:12:01 -0400",
"nprLastModifiedDate": "Wed, 29 Sep 2021 12:16:06 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/09/20210929_fa_01.mp3?orgId=427869011&topicId=1033&d=2640&p=13&story=1041362145&ft=nprml&f=1041362145",
"nprAudioM3u": "http://api.npr.org/m3u/11041552963-cf0464.m3u?orgId=427869011&topicId=1033&d=2640&p=13&story=1041362145&ft=nprml&f=1041362145",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13903966/me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/09/20210929_fa_01.mp3?orgId=427869011&topicId=1033&d=2640&p=13&story=1041362145&ft=nprml&f=1041362145",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em> \u003cem>This interview includes a discussion of rape and sexual abuse\u003c/em>\u003c/p>\n\u003cp>In 2017, \u003cem>The New York Times\u003c/em> published \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">a story\u003c/a> chronicling decades of sexual harassment abuse against Hollywood producer Harvey Weinstein. Less than three years later, a Manhattan jury found Weinstein \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\" target=\"_blank\" rel=\"noopener noreferrer\">guilty\u003c/a> of rape and sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_13903968\" class=\"wp-caption alignright\" style=\"max-width: 431px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg\" alt=\"\" width=\"431\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg 431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274-160x120.jpg 160w\" sizes=\"auto, (max-width: 431px) 100vw, 431px\">\u003cfigcaption class=\"wp-caption-text\">Activist Tarana Burke founded the Me Too movement in 2006 as a way for Black girls to share their stories of sexual trauma. \u003ccite>(Dougal Macarthur/Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist \u003ca href=\"https://www.npr.org/2019/02/01/689483577/tarana-burke-how-can-we-build-a-world-where-people-dont-have-to-say-me-too\" target=\"_blank\" rel=\"noopener noreferrer\">Tarana Burke\u003c/a>, the founder of the “Me Too” movement, sees a stark contrast in the timeline of Weinstein’s case and that of R&B singer R. Kelly, who dodged accusations for more than 25 years before finally being \u003ca href=\"https://www.kqed.org/arts/13903808/r-kelly-found-guilty-of-racketeering-and-sex-trafficking\" target=\"_blank\" rel=\"noopener noreferrer\">convicted\u003c/a> on Sept. 28 of sexual exploitation of a child, bribery, racketeering and sex trafficking.\u003c/p>\n\u003cp>“We are socialized to respond to the vulnerability of white women, and it’s a truth that is hard for some people to look in the face, and they feel uncomfortable when I say things like that,” she says. “But it is true. … [There’s a] stark difference in what it takes to get attention around Black women and girls.”\u003c/p>\n\u003cp>Burke has spent decades listening to Black and minority communities. She originated the phrase and concept of “Me Too” in 2006 as a way for victims of sexual violence to share their stories and connect with others.\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 2017, when the #MeToo hashtag went viral in response to the Weinstein allegations, Burke worried that her work would be erased. She was also concerned that the women telling their stories on the internet were opening themselves up to harm.\u003c/p>\n\u003cp>“I thought, God, these people are going to cut and bleed all over the internet, which is the very worst place to be exposed and vulnerable in this moment,” she says.\u003c/p>\n\u003cp>But as she read the #MeToo stories women were sharing, she was blown away. Burke shifted her perspective to the “30,000 foot view,” and saw something much bigger than she had ever imagined unfolding. She also realized that in order to fully help women heal, she needed to tell her own “Me Too” story. She does that in the new memoir, \u003cem>Unbound: My Story of Liberation and the Birth of the Me Too Movement.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the shame she experienced after being raped at age 7, and the duality of being good or bad \u003c/strong>\u003c/p>\n\u003cp>[The shame comes from] not being able to protect yourself, and then the shame of breaking the rules. When we’re children it’s sort of cut and dry: You’re either good or you’re bad. There’s not really an in between. And when you are given a message over and over and over and over again, it says, “Don’t let anybody touch your private parts. Those are nasty things. Those are fresh things. Those are things that fast girls or bad girls do.” And you find yourself in this situation at a very young age. You’re either one or the other: You’re good or you’re bad. And there’s a lot of shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>On reading \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Maya Angelou\u003c/strong>\u003c/a>\u003cstrong>‘s \u003c/strong>\u003cstrong>\u003cem>I Know Why the Caged Bird Sings\u003c/em>\u003c/strong>\u003cstrong> and learning for the first time she wasn’t alone in her experience of sexual assault \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108956",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It opened my mind up to the idea that, first of all, that this could happen to other people. I didn’t even think about other girls. When I read it, I thought, even then, it’s just me and Maya Angelou, because this is somebody else that this happened to, and it made me wonder why God would let something like this happen to a good girl. Because in the book, I’m perceiving her as different than me. She was a good girl. She listened to her grandma. She did what she was supposed to do. She did her work. She got her chores. Why did this happen to her? It was such a beautiful thing for me to have that connection. I felt just less alone to have a story in the world that I could even connect to.\u003c/p>\n\u003cp>\u003cstrong>On doing a lot of self work to realize that the reason why she was abused had nothing to do with her \u003c/strong>\u003c/p>\n\u003cp>I often wonder why this person picked me. It could be something that he saw in my personality. It could be any number of things, but it’s all the depravity in his mind, it had nothing to do with who I was as a child or anything that I did as a child. There’s been all kinds of research, and we’ve seen stories, even anecdotal stories of predators telling about how they pick the children that they decide to go after and why. Maybe it’s the quiet child, maybe it’s the loud child. … They all have their reasons, but none of those reasons are connected to me, none of them were connected to me being a particular type of girl this happened to, which is what I put in my mind: “I’m the type of girl this happens to.” I had to work, go through a whole bunch of steps, to take the blame from myself and put it where it rightfully belonged. Take the burden from myself and lay it at the feet of the people who actually should hold that. That took a lot of work.\u003c/p>\n\u003cp>\u003cstrong>On seeing trauma in communities of color and how Black and brown girls are labeled as “angry” \u003c/strong>\u003c/p>\n\u003cp>I think when you couple the messages that we receive from the world about who we are and how we show up and how we should be valued with this kind of abuse, that it creates this really disturbing mixture of emotions and bad thoughts … And so I think a lot of little Black and brown girls internalize it, and then we see it come out in anger and behavior and things like that. But nobody tends to ask us those questions about where that came from. So it’s just a label, “these little Black girls with these attitudes,” “these little angry Black girls.” … We don’t get the questions that say, “Well, where did this come from?” …\u003c/p>\n\u003cp>This is a child, and children aren’t born angry. They aren’t born with attitudes. Something has to happen. Something has to have affected them in order to bring that about. Obviously, it’s not only sexual trauma, but there is trauma. And knowing that there’s so much trauma in communities of color, you would think that the first place that people would go is: “What happened?”\u003c/p>\n\u003cp>\u003cstrong>On how she coped with her own shame and trauma by being an overachiever \u003c/strong>\u003c/p>\n\u003cp>I think generally we’ve gotten so many messages about what sexual violence looks like and how it shows up in young survivors, in particular, and so we look for the sad girls and the girls who might be cutting or harming themselves in some way, or the girls who retreat from society. And those are also markers. But the overachieving perfectionists, melt-down-at-getting-a-B girls are also going through something. And that’s who I was.\u003c/p>\n\u003cp>\u003cstrong>On learning how to be an organizer and an activist at a young age in the “\u003ca href=\"https://www.alabama21cclc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century\u003c/a>” program in Alabama \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_98421",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>21st Century was life-changing from the moment I walked in the door and saw the young people dancing and singing freely to taking these sessions, going to these training sessions where I was literally learning to be an organizer, how to put together a campaign. … These were the first people to tell me, “You’re a leader now.” And it allowed me to exercise … a different kind of freedom to speak up and use my voice and say that my voice was valuable. And so it really just changed how I thought about myself, but also it gave me my vision of who I would be in the future. I had never seen anything like it, experienced anything like it. And I just wanted to be a part of it.\u003c/p>\n\u003cp>21st Century, the organization, was founded in Selma, Ala., and the founders were veterans of all of the civil rights movement, Black Power movement, labor movement, co-op movement. Like all of these various movements that came out of the ’60s and ’70s, these social justice movements. And so you’re no different than the young leaders in SNCC [the Student Nonviolent Coordinating Committee] in the 1960s—they were teenagers too. And [21st Century] told us stories of children, young people, who made a difference. They gave us leadership development, taught us organizing skills and sent us off into the world. I was like, “I have found my calling. This is it.” That was my tribe.\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>Ann Marie Baldonado and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Me+Too%27+Founder+Tarana+Burke+Says+Black+Girls%27+Trauma+Shouldn%27t+Be+Ignored&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903966/me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored",
"authors": [
"byline_arts_13903966"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_2798",
"arts_879",
"arts_1962",
"arts_1680"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903971",
"label": "arts_137"
},
"arts_13903795": {
"type": "posts",
"id": "arts_13903795",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903795",
"score": null,
"sort": [
1632871115000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1632871115,
"format": "standard",
"title": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’",
"headTitle": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’ | KQED",
"content": "\u003cp>Not since her high profile breakdown in 2008 has Britney Spears received so much media attention. Last Friday, \u003cem>Controlling Britney Spears\u003c/em>—the follow-up to the \u003cem>New York Times\u003c/em>’ bombshell \u003cem>Framing Britney Spears\u003c/em> investigative film—premiered on Hulu. And on Tuesday morning, a 93-minute documentary titled \u003cem>Britney vs Spears\u003c/em> emerged on Netflix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z920uNiv1Eg\u003c/p>\n\u003cp>Between the two films—in addition to Britney’s recent statements in court—the public now has a fairly exhaustive view of what Britney’s life has been like since her initially temporary conservatorship was put in place on Feb. 1, 2008. It was made permanent in 2009, leaving her father Jamie in control of Britney’s career and assets. What is now clear is that the conservatorship was a great deal more restrictive than previously thought, Britney has been unhappy living under it from the very beginning, and her trust was violated on innumerable occasions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SgFDWK_sf9c\u003c/p>\n\u003cp>Here are the key revelations from both \u003cem>Controlling Britney Spears\u003c/em>, and \u003cem>Britney vs Spears\u003c/em>. While both documentaries contain shocking assertions, they also serve on many levels to back each other up.\u003c/p>\n\u003ch2>Accounts of surveillance\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Alex Vlasov is a former employee of Black Box, the company Jamie Spears hired to provide security to Britney. Vlasov says that Britney had to ask permission to get an iPhone and when she did, Jamie put parental controls on it. In addition, Vlasov says an iPad was set up and linked to Britney’s iPhone in order to monitor her private texts, calls and internet use. Vlasov says even conversations between Britney and her mom and lawyer were monitored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It didn’t feel like she was being treated like a human being,” Vlasov says. “Ethically, it was one big mess.”\u003c/p>\n\u003cp>Most shocking of all, Vlasov claims that the head of the star’s security team, Edan Yemini, put a recording device into Britney’s bedroom and recorded 180 hours of audio. Vlasov says he was later asked to erase the audio, but made a copy because he didn’t want to be complicit in anything illegal.\u003c/p>\n\u003cp>[aside postid='arts_13902687']Tish Yates was Britney’s head of wardrobe for seven years, 2008–10 and 2013–18. She says the person she saw exert the most control over Britney was Robin Greenhill from Tri Star Sports and Entertainment Group—the business management company Jamie also put in place to handle Britney’s affairs. This extended to the food she ate. “I had to have Robin’s approval before I spoke with Britney about a question Britney had,” Yates notes.\u003c/p>\n\u003cp>The film claims that, at one point, Britney attempted to get a new attorney to come to her house disguised as a plumber, so she could get him past the gates. That conversation was monitored, so she was ultimately unable to meet with him.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery, a cinematographer and friend to Britney, says that Britney asked him for help repeatedly, and that this often involved using his phone. At one point, after Kevin Federline did an interview with \u003cem>People\u003c/em> magazine, Britney wanted to tell her side of the story but was forbidden to do so. Instead, Gallery explains, she wrote a letter and asked him to read it publicly. Jamie got wind of this and put a stop to it, but Gallery had already taken photos of the letter.\u003c/p>\n\u003cp>It read, in part: “[Britney] would love for new eyes to see her situation, but if she brings it up, she’s constantly threatened that the conservators will take her kids away.”\u003c/p>\n\u003cp>“I always felt bad for her,” Gallery says during \u003cem>Britney vs Spears\u003c/em>. “That this was her reality and her world. All she wanted to do was respond to an article.”\u003c/p>\n\u003ch2>Like ‘someone who was in prison’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Vlasov claims that Britney’s medication was doled out to her on a schedule and she was not allowed to leave the room until she had taken it in front of someone. “It really reminded me of someone who was in prison,” Vlasov said. “Security was put in place to be the prison guards, essentially.”\u003c/p>\n\u003cp>Yates details an occasion when she used her wardrobe budget to buy Britney a pair of Sketchers she liked. The star’s management wouldn’t allow Britney to spend her own money on the sneakers.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> In documents obtained by the filmmakers, Jason Trawick—Britney’s former agent turned fiancé—details having to ask permission every time the couple wanted to go out to eat or go for a drive. He talked about Britney having to wait for days even to obtain permission to buy books for her kids.\u003c/p>\n\u003cp>[aside postid='pop_111253']The Netflix documentary also details that, when the conservatorship was made permanent in 2009, Jamie was granted the power to cancel Britney’s credit cards. He was also given absolute power over Britney’s career choices, once they had been “approved by her medical team.” Despite this, Britney would later become a judge on the \u003cem>X Factor\u003c/em> TV show, despite serious objections by her medical team. A compromise was eventually met between her doctors and management.\u003c/p>\n\u003ch2>‘She was kept very isolated’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates says she was so concerned about Britney being repeatedly cut off from those closest to her that at one point she gave the pop star a Tiffany’s necklace that had Yates’ phone number engraved on the back.\u003c/p>\n\u003cp>Felicia Culotta acted as Britney’s assistant for 16 years (1998–2007 and 2009–2016). She says that towards the end of her time touring with Britney, she was told in no uncertain terms that Britney no longer wanted her around. Culotta actively stayed out of the singer’s way on the road as a result. When they finally found themselves in the same room together, Culotta explains, Britney was elated to see her and completely baffled as to why they hadn’t been spending time together.\u003c/p>\n\u003cp>Dan George, Britney’s 2008 tour manager, notes: “She was kept very isolated.”\u003c/p>\n\u003cp>Claims are made by multiple sources that all of Britney’s boyfriends since the conservatorship started have been forced to sign NDAs. Britney is also seen admitting in an interview that Jamie ran a background check on at least one of them.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery says that once it was clear that he and Britney had developed a close relationship, he was cut off by those around her.\u003c/p>\n\u003cp>Adnan Ghalib, the paparazzi photographer who dated Britney during her divorce from Kevin Federline, explains how pushing her loved ones out of the picture became the norm. He also paints a frightening picture of the start of the conservatorship.\u003c/p>\n\u003cp>“It was always so extreme,” he says. “Let me explain to you how fucking devastating it was for me to pull up at the gates and there’s her father standing there, four of the security, and two officers… And she freaks out… And she looks at me. I’m supposed to be the one that protects her. And I’m trying to calm her down. I cannot. I’m trying to explain to her, ‘He is your conservator. Without his permission… [essentially] I’ve kidnapped you.’”\u003c/p>\n\u003cp>Culotta is less forthright in the Netflix doc, but when asked about Jamie, she wrinkles up her nose and says, “I don’t wanna talk about her daddy.”\u003c/p>\n\u003ch2>‘My father has threatened me’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The filmmakers unearthed a 2009 voicemail to an attorney in which Britney makes her position clear. “During the process of eliminating the conservatorship,” she says, “my father has threatened me several times that he will take my children away. I just wanted to guarantee that everything will be fine.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']That same year, Ghalib and Britney’s former manager Sam Lutfi, aware that Britney wanted to hire her own lawyer and was being prevented from doing so, hatched a plan. They contacted Jenny Eliscu—a \u003cem>Rolling Stone\u003c/em> reporter and one of the producers on \u003cem>Britney vs Spears\u003c/em>—to get paperwork to Britney. Eliscu met Britney in the bathroom of the Montage Hotel in Beverly Hills, so Britney could sign documents requesting the right to hire her own attorney.\u003c/p>\n\u003cp>“She definitely seemed scared,” Eliscu says. “It was hard to tell because I was so scared, but she was appreciative. Which is so classic her… in that moment to be scared, but also grateful.”\u003c/p>\n\u003cp>The signed document expressed Britney’s lack of confidence in her court-appointed attorney Sam Ingham, and stated: “Certainly, this woman who can complete two new CDs and be set to go on a national tour has sufficient capacity, after nearly one year of a protective conservatorship, to retain counsel of her choice, and in whom she has confidence.”\u003c/p>\n\u003cp>Despite this, the court decided that Britney did not have the capacity to choose her own attorney. This was the second time the court decided Britney did not have capacity to choose her own attorney. San Ingham was installed as her representative in place of Britney’s chosen attorney, Adam Streisand.\u003c/p>\n\u003ch2>‘Jamie wasn’t with us’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Britney vs. Spears\u003c/em>:\u003c/strong> Culotta says, “Jamie wasn’t with us very often. Hardly ever.”\u003c/p>\n\u003cp>Ghalib says during his relationship with her in 2008, Britney didn’t trust anyone in her family, “and that [was] a very scary, dark place to be.”\u003c/p>\n\u003cp>Lutfi says that Jamie was involved “not at all.” Lufti was also under the impression that father and daughter were estranged “for years.”\u003c/p>\n\u003ch2>Stories of drugs as crutches and weapons\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates talks of an incident when Britney smelled weed in the audience as she was about to go on stage one night. Yates says Britney ran in a blind panic back to her dressing room, in tears, and told Yates she was terrified that if the smoke got into her system, her children would be taken away.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Ghalib says that during the time of her divorce from Kevin Federline, Britney was taking Adderall. “I’m sure X-amount of millions of people are taking Adderall,” he says, “but these are the things that become volatile and deadly weapons when you’re going through a child custody case.” He also said he was scared for both Britney and himself during that period. “It’s hard to stay up for three days,” he says, “but you have that fear—and it’s a very real fear—that if anything happens to her, they’re just gonna blame you.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']An inside source leaked thousands of documents to the filmmakers. One, a report by a doctor who resigned from Britney’s case in 2013, suggests the amount of medication Britney took was increased on the days she was working. One section says: “Jamie and others on the team valued the benefits of stimulants for Britney’s performance. This has been the case for both of her tours, and for her participation on \u003cem>X Factor\u003c/em>. By the same token, Jamie wanted Britney not to take stimulants. This contradiction has not been resolved.”\u003c/p>\n\u003cp>Lutfi, who was accused years ago of drugging Britney without her knowledge says, “You have 100 blood tests and drug tests the entire time I was with her and she passed every single one of them.”\u003c/p>\n\u003ch2>Who ‘stands to make a cut’?\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Tish Yates describes a pattern of tours being extended and shows being added at a relentless pace. She says breaks were basically nonexistent. Yates also says Britney’s concerns and needs were ignored. “Whenever she brought up something that was disturbing her, she’d always be dismissed.” Yates says Britney was consistently told, “‘You don’t need to ask these questions because it’s none of your business.’”\u003c/p>\n\u003cp>\u003cem>New York Times\u003c/em> journalist Liz Day points out that the standard in California for conservatorship is someone who is unable to feed, clothe or shelter themselves. “But,” she says, “Britney began working again almost immediately after the conservatorship starts.”\u003c/p>\n\u003cp>Day subsequently reports: “According to court records, Tri Star was getting five percent of Britney’s gross income. And Jamie is making $16,000 a month plus a percent of Britney’s multi-million-dollar deals. So, if her father Jamie as conservator enters into a deal for her, is that because it’s in Britney’s best interest? Or because everyone involved stands to make a cut?”\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The Netflix documentary goes even further, getting into specifics about how much Jamie has profited off his daughter since the conservatorship started. According to the film, the 2009 conservatorship terms included buying him a car. Jamie has since earned $2.1 million from tour revenues alone. The documentary says Jamie grants Britney an $8,000-per-month allowance—half of what he pays himself. Her \u003cem>Piece of Me\u003c/em> residency in Las Vegas and accompanying 2018 tour brought in $192 million in box office sales.\u003c/p>\n\u003cp>On Monday, a post on Britney’s Instagram page appeared to make objections to \u003cem>Controlling Britney Spears\u003c/em>. (\u003cem>Britney vs. Spears\u003c/em> had not yet premiered.)\u003c/p>\n\u003cp>https://www.instagram.com/p/CUWBw4TM6Np/\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Many of the 8,000-plus comments underneath the post openly questioned whether Britney made the post herself. Several stated: “Free Britney! This isn’t her.”\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2380,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 43
},
"modified": 1705007683,
"excerpt": "On Friday, Hulu released 'New York Times' documentary, 'Controlling Britney Spears.' This morning, 'Britney vs Spears' hit Netflix.",
"headData": {
"twImgId": "",
"twTitle": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’",
"socialTitle": "New Britney Spears Docs Air More Shocks About Conservatorship %%page%% %%sep%% KQED",
"ogTitle": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’",
"ogImgId": "",
"twDescription": "",
"description": "On Friday, Hulu released 'New York Times' documentary, 'Controlling Britney Spears.' This morning, 'Britney vs Spears' hit Netflix.",
"title": "New Britney Spears Docs Air More Shocks About Conservatorship | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’",
"datePublished": "2021-09-28T16:18:35-07:00",
"dateModified": "2024-01-11T13:14:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "britney-spears-conservatorship-documentaries",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13903795/britney-spears-conservatorship-documentaries",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not since her high profile breakdown in 2008 has Britney Spears received so much media attention. Last Friday, \u003cem>Controlling Britney Spears\u003c/em>—the follow-up to the \u003cem>New York Times\u003c/em>’ bombshell \u003cem>Framing Britney Spears\u003c/em> investigative film—premiered on Hulu. And on Tuesday morning, a 93-minute documentary titled \u003cem>Britney vs Spears\u003c/em> emerged on Netflix.\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/Z920uNiv1Eg'\n title='//www.youtube.com/embed/Z920uNiv1Eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Between the two films—in addition to Britney’s recent statements in court—the public now has a fairly exhaustive view of what Britney’s life has been like since her initially temporary conservatorship was put in place on Feb. 1, 2008. It was made permanent in 2009, leaving her father Jamie in control of Britney’s career and assets. What is now clear is that the conservatorship was a great deal more restrictive than previously thought, Britney has been unhappy living under it from the very beginning, and her trust was violated on innumerable occasions.\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/SgFDWK_sf9c'\n title='//www.youtube.com/embed/SgFDWK_sf9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here are the key revelations from both \u003cem>Controlling Britney Spears\u003c/em>, and \u003cem>Britney vs Spears\u003c/em>. While both documentaries contain shocking assertions, they also serve on many levels to back each other up.\u003c/p>\n\u003ch2>Accounts of surveillance\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Alex Vlasov is a former employee of Black Box, the company Jamie Spears hired to provide security to Britney. Vlasov says that Britney had to ask permission to get an iPhone and when she did, Jamie put parental controls on it. In addition, Vlasov says an iPad was set up and linked to Britney’s iPhone in order to monitor her private texts, calls and internet use. Vlasov says even conversations between Britney and her mom and lawyer were monitored.\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 didn’t feel like she was being treated like a human being,” Vlasov says. “Ethically, it was one big mess.”\u003c/p>\n\u003cp>Most shocking of all, Vlasov claims that the head of the star’s security team, Edan Yemini, put a recording device into Britney’s bedroom and recorded 180 hours of audio. Vlasov says he was later asked to erase the audio, but made a copy because he didn’t want to be complicit in anything illegal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902687",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Tish Yates was Britney’s head of wardrobe for seven years, 2008–10 and 2013–18. She says the person she saw exert the most control over Britney was Robin Greenhill from Tri Star Sports and Entertainment Group—the business management company Jamie also put in place to handle Britney’s affairs. This extended to the food she ate. “I had to have Robin’s approval before I spoke with Britney about a question Britney had,” Yates notes.\u003c/p>\n\u003cp>The film claims that, at one point, Britney attempted to get a new attorney to come to her house disguised as a plumber, so she could get him past the gates. That conversation was monitored, so she was ultimately unable to meet with him.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery, a cinematographer and friend to Britney, says that Britney asked him for help repeatedly, and that this often involved using his phone. At one point, after Kevin Federline did an interview with \u003cem>People\u003c/em> magazine, Britney wanted to tell her side of the story but was forbidden to do so. Instead, Gallery explains, she wrote a letter and asked him to read it publicly. Jamie got wind of this and put a stop to it, but Gallery had already taken photos of the letter.\u003c/p>\n\u003cp>It read, in part: “[Britney] would love for new eyes to see her situation, but if she brings it up, she’s constantly threatened that the conservators will take her kids away.”\u003c/p>\n\u003cp>“I always felt bad for her,” Gallery says during \u003cem>Britney vs Spears\u003c/em>. “That this was her reality and her world. All she wanted to do was respond to an article.”\u003c/p>\n\u003ch2>Like ‘someone who was in prison’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Vlasov claims that Britney’s medication was doled out to her on a schedule and she was not allowed to leave the room until she had taken it in front of someone. “It really reminded me of someone who was in prison,” Vlasov said. “Security was put in place to be the prison guards, essentially.”\u003c/p>\n\u003cp>Yates details an occasion when she used her wardrobe budget to buy Britney a pair of Sketchers she liked. The star’s management wouldn’t allow Britney to spend her own money on the sneakers.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> In documents obtained by the filmmakers, Jason Trawick—Britney’s former agent turned fiancé—details having to ask permission every time the couple wanted to go out to eat or go for a drive. He talked about Britney having to wait for days even to obtain permission to buy books for her kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_111253",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Netflix documentary also details that, when the conservatorship was made permanent in 2009, Jamie was granted the power to cancel Britney’s credit cards. He was also given absolute power over Britney’s career choices, once they had been “approved by her medical team.” Despite this, Britney would later become a judge on the \u003cem>X Factor\u003c/em> TV show, despite serious objections by her medical team. A compromise was eventually met between her doctors and management.\u003c/p>\n\u003ch2>‘She was kept very isolated’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates says she was so concerned about Britney being repeatedly cut off from those closest to her that at one point she gave the pop star a Tiffany’s necklace that had Yates’ phone number engraved on the back.\u003c/p>\n\u003cp>Felicia Culotta acted as Britney’s assistant for 16 years (1998–2007 and 2009–2016). She says that towards the end of her time touring with Britney, she was told in no uncertain terms that Britney no longer wanted her around. Culotta actively stayed out of the singer’s way on the road as a result. When they finally found themselves in the same room together, Culotta explains, Britney was elated to see her and completely baffled as to why they hadn’t been spending time together.\u003c/p>\n\u003cp>Dan George, Britney’s 2008 tour manager, notes: “She was kept very isolated.”\u003c/p>\n\u003cp>Claims are made by multiple sources that all of Britney’s boyfriends since the conservatorship started have been forced to sign NDAs. Britney is also seen admitting in an interview that Jamie ran a background check on at least one of them.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery says that once it was clear that he and Britney had developed a close relationship, he was cut off by those around her.\u003c/p>\n\u003cp>Adnan Ghalib, the paparazzi photographer who dated Britney during her divorce from Kevin Federline, explains how pushing her loved ones out of the picture became the norm. He also paints a frightening picture of the start of the conservatorship.\u003c/p>\n\u003cp>“It was always so extreme,” he says. “Let me explain to you how fucking devastating it was for me to pull up at the gates and there’s her father standing there, four of the security, and two officers… And she freaks out… And she looks at me. I’m supposed to be the one that protects her. And I’m trying to calm her down. I cannot. I’m trying to explain to her, ‘He is your conservator. Without his permission… [essentially] I’ve kidnapped you.’”\u003c/p>\n\u003cp>Culotta is less forthright in the Netflix doc, but when asked about Jamie, she wrinkles up her nose and says, “I don’t wanna talk about her daddy.”\u003c/p>\n\u003ch2>‘My father has threatened me’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The filmmakers unearthed a 2009 voicemail to an attorney in which Britney makes her position clear. “During the process of eliminating the conservatorship,” she says, “my father has threatened me several times that he will take my children away. I just wanted to guarantee that everything will be fine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13899317",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That same year, Ghalib and Britney’s former manager Sam Lutfi, aware that Britney wanted to hire her own lawyer and was being prevented from doing so, hatched a plan. They contacted Jenny Eliscu—a \u003cem>Rolling Stone\u003c/em> reporter and one of the producers on \u003cem>Britney vs Spears\u003c/em>—to get paperwork to Britney. Eliscu met Britney in the bathroom of the Montage Hotel in Beverly Hills, so Britney could sign documents requesting the right to hire her own attorney.\u003c/p>\n\u003cp>“She definitely seemed scared,” Eliscu says. “It was hard to tell because I was so scared, but she was appreciative. Which is so classic her… in that moment to be scared, but also grateful.”\u003c/p>\n\u003cp>The signed document expressed Britney’s lack of confidence in her court-appointed attorney Sam Ingham, and stated: “Certainly, this woman who can complete two new CDs and be set to go on a national tour has sufficient capacity, after nearly one year of a protective conservatorship, to retain counsel of her choice, and in whom she has confidence.”\u003c/p>\n\u003cp>Despite this, the court decided that Britney did not have the capacity to choose her own attorney. This was the second time the court decided Britney did not have capacity to choose her own attorney. San Ingham was installed as her representative in place of Britney’s chosen attorney, Adam Streisand.\u003c/p>\n\u003ch2>‘Jamie wasn’t with us’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Britney vs. Spears\u003c/em>:\u003c/strong> Culotta says, “Jamie wasn’t with us very often. Hardly ever.”\u003c/p>\n\u003cp>Ghalib says during his relationship with her in 2008, Britney didn’t trust anyone in her family, “and that [was] a very scary, dark place to be.”\u003c/p>\n\u003cp>Lutfi says that Jamie was involved “not at all.” Lufti was also under the impression that father and daughter were estranged “for years.”\u003c/p>\n\u003ch2>Stories of drugs as crutches and weapons\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates talks of an incident when Britney smelled weed in the audience as she was about to go on stage one night. Yates says Britney ran in a blind panic back to her dressing room, in tears, and told Yates she was terrified that if the smoke got into her system, her children would be taken away.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Ghalib says that during the time of her divorce from Kevin Federline, Britney was taking Adderall. “I’m sure X-amount of millions of people are taking Adderall,” he says, “but these are the things that become volatile and deadly weapons when you’re going through a child custody case.” He also said he was scared for both Britney and himself during that period. “It’s hard to stay up for three days,” he says, “but you have that fear—and it’s a very real fear—that if anything happens to her, they’re just gonna blame you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13901695",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>An inside source leaked thousands of documents to the filmmakers. One, a report by a doctor who resigned from Britney’s case in 2013, suggests the amount of medication Britney took was increased on the days she was working. One section says: “Jamie and others on the team valued the benefits of stimulants for Britney’s performance. This has been the case for both of her tours, and for her participation on \u003cem>X Factor\u003c/em>. By the same token, Jamie wanted Britney not to take stimulants. This contradiction has not been resolved.”\u003c/p>\n\u003cp>Lutfi, who was accused years ago of drugging Britney without her knowledge says, “You have 100 blood tests and drug tests the entire time I was with her and she passed every single one of them.”\u003c/p>\n\u003ch2>Who ‘stands to make a cut’?\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Tish Yates describes a pattern of tours being extended and shows being added at a relentless pace. She says breaks were basically nonexistent. Yates also says Britney’s concerns and needs were ignored. “Whenever she brought up something that was disturbing her, she’d always be dismissed.” Yates says Britney was consistently told, “‘You don’t need to ask these questions because it’s none of your business.’”\u003c/p>\n\u003cp>\u003cem>New York Times\u003c/em> journalist Liz Day points out that the standard in California for conservatorship is someone who is unable to feed, clothe or shelter themselves. “But,” she says, “Britney began working again almost immediately after the conservatorship starts.”\u003c/p>\n\u003cp>Day subsequently reports: “According to court records, Tri Star was getting five percent of Britney’s gross income. And Jamie is making $16,000 a month plus a percent of Britney’s multi-million-dollar deals. So, if her father Jamie as conservator enters into a deal for her, is that because it’s in Britney’s best interest? Or because everyone involved stands to make a cut?”\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The Netflix documentary goes even further, getting into specifics about how much Jamie has profited off his daughter since the conservatorship started. According to the film, the 2009 conservatorship terms included buying him a car. Jamie has since earned $2.1 million from tour revenues alone. The documentary says Jamie grants Britney an $8,000-per-month allowance—half of what he pays himself. Her \u003cem>Piece of Me\u003c/em> residency in Las Vegas and accompanying 2018 tour brought in $192 million in box office sales.\u003c/p>\n\u003cp>On Monday, a post on Britney’s Instagram page appeared to make objections to \u003cem>Controlling Britney Spears\u003c/em>. (\u003cem>Britney vs. Spears\u003c/em> had not yet premiered.)\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CUWBw4TM6Np/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Many of the 8,000-plus comments underneath the post openly questioned whether Britney made the post herself. Several stated: “Free Britney! This isn’t her.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903795/britney-spears-conservatorship-documentaries",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_13475",
"arts_10387",
"arts_10278",
"arts_8237",
"arts_5234",
"arts_3324",
"arts_6125"
],
"featImg": "arts_13903896",
"label": "arts"
},
"arts_13903779": {
"type": "posts",
"id": "arts_13903779",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903779",
"score": null,
"sort": [
1632507451000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1632507451,
"format": "standard",
"title": "ABC's New 'Wonder Years' Succeeds By Centering a Black Family in 1968",
"headTitle": "ABC’s New ‘Wonder Years’ Succeeds By Centering a Black Family in 1968 | KQED",
"content": "\u003cp>Experienced critics know: sometimes it pays to be skeptical of TV show revivals that try to make an old series feel fresh by changing the race of the main characters.\u003c/p>\n\u003cp>But ABC’s Black-centered reimagining of TV’s classic exercise in nostalgia, \u003ca href=\"https://abc.com/shows/the-wonder-years/episode-guide/season-01/01-pilot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wonder Years\u003c/em>\u003c/a>\u003cem>,\u003c/em> avoids that pitfall for a simple reason. The year in which it is set, 1968, was one of the most pivotal times for Black America in recent history.\u003c/p>\n\u003cp>Think about it. Malcom X had already been assassinated. Riots over racial issues convulsed poor Black neighborhoods from New York City to Los Angeles. The Vietnam War was claiming more young brothers every year. And Black artists like Stevie Wonder, Marvin Gaye and Curtis Mayfield were trying to shrug off their buttoned-down images and bring a grittier, street-level energy to their art.\u003c/p>\n\u003cp>That’s why I was so excited to see that, in ABC’s new version of \u003cem>The Wonder Years\u003c/em>, 12-year-old Drew Williams’ father was a too-cool R&B musician who also teaches at a local college in Birmingham, Alabama. Played by \u003cem>The West Wing\u003c/em> and \u003cem>Psych\u003c/em> alum Dulé Hill, Papa Williams has a hit record on the radio and a habit of telling his family to “be cool” whenever a tense moment approaches.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZlDgPSws6Oc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pilot episode set the scene quickly, with charismatic star Don Cheadle serving as Dean’s grown-up voice, narrating the action as if he was looking back through a slender haze of nostalgia.\u003c/p>\n\u003cp>“Growing up, Mom and Dad gave me ‘the police talk,’ about how to handle yourself around cops,” Cheadle says over images of young Dean (Elisha “E.J.” Williams) riding a bike through his neighborhood, a \u003ca href=\"https://memphismusichalloffame.com/inductee/samanddave/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam and Dave\u003c/a> song percolating in the background. “There was a presidential election that created a racial divide, and there was a flu pandemic that they said would kill a million people around the world. But it was 1968… and that’s the state our country was in.”\u003c/p>\n\u003cp>[aside postid='arts_13903607']Surprise! Turns out that 1968 was more like 2021 than you might think.\u003c/p>\n\u003cp>What I love most about this new \u003cem>Wonder Years\u003c/em> is how it balances coming-of-age moments which are universal for middle class Americans—bullies at school, wanting your crush to notice you, struggling not to embarrass yourself at a Little League game—with stuff that was specific to Black families like mine.\u003c/p>\n\u003cp>Dean’s dad cautions him that setting up a Little League game against a white team might not end well. When Dean asks about certain subjects his parents are talking about, he’s reprimanded with a curt command: “Stay out of grown folks’ business.” Dean has to wonder if his white teacher is racist in a way that might actually help him, and gets beat up in school for acting too white.\u003c/p>\n\u003cp>And a twist at the episode’s end brings home how different this era can be for Black folks hoping to reach toward equality in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13903781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-4-4c4a7b27573d04b6aa2a7dc57d51e7a213164b7a-800x600.jpe\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Elisha Williams as Dean Williams in ‘The Wonder Years’ reboot. \u003ccite>(Erika Doss/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent rewatch of the original \u003cem>Wonder Years\u003c/em> pilot from 1988, starring Fred Savage as 12-year-old Kevin Arnold and soon-to-be \u003cem>Home Alone\u003c/em> costar Daniel Stern as his grown-up voice, reveals a show positioned as a baby boomer’s manifesto. Kevin is heading into middle school struggling to balance his geeky friends, overbearing siblings, a simmering crush on a neighbor and the occasional intrusion of bigger events, including—spoiler alert—the death of a neighborhood boy drafted to serve in the Vietnam War.\u003c/p>\n\u003cp>Filled with needle drops worthy of \u003ca href=\"https://www.imdb.com/title/tt0085244/soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Chill\u003c/em> soundtrack\u003c/a>—\u003cem>When a Man Loves a Woman, Turn, Turn, Turn\u003c/em> and \u003cem>With a Little Help From My Friends\u003c/em> were in the pilot episode alone—the show explained the formative years of a generation reared in a suburban paradise and tempered by war in Vietnam, sliding from the Age of the Greasers to the Age of The Hippies.\u003c/p>\n\u003cp>Their world was so white it almost hurts your eyes to look at it now.\u003c/p>\n\u003cp>[aside postid='arts_13903303']One big reason changing the races of characters in a series reboot can make sense is because the adjustment can reclaim a bit of cultural space—allowing people of color to tell their own stories in a fictional world where they had previously been rendered invisible. (Though it is interesting that series star Fred Savage also serves as an executive producer for the reboot and directed the pilot episode.)\u003c/p>\n\u003cp>That’s the real reason I enjoyed the new \u003cem>Wonder Years \u003c/em>reboot so much. Here, I’m not the one trying to imagine how people like me would fit into a narrative set at such an important time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, just maybe, the rest of America might learn a little more about its history by seeing those pivotal moments from a perspective different than their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=ABC%27s+New+%27Wonder+Years%27+Succeeds+By+Centering+A+Black+Family+In+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 874,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705007696,
"excerpt": "The reboot makes space for nuanced Black stories in a format where people of color were previously rendered invisible.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The reboot makes space for nuanced Black stories in a format where people of color were previously rendered invisible.",
"title": "ABC's New 'Wonder Years' Succeeds By Centering a Black Family in 1968 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "ABC's New 'Wonder Years' Succeeds By Centering a Black Family in 1968",
"datePublished": "2021-09-24T11:17:31-07:00",
"dateModified": "2024-01-11T13:14:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "abcs-new-wonder-years-succeeds-by-centering-a-black-family-in-1968",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1040388738&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 24 Sep 2021 13:19:17 -0400",
"nprLastModifiedDate": "Fri, 24 Sep 2021 13:19:17 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/24/1040388738/wonder-years-review-reboot-abc?ft=nprml&f=1040388738",
"nprImageAgency": "ABC",
"nprStoryId": "1040388738",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Erika Doss",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Sep 2021 13:19:00 -0400",
"path": "/arts/13903779/abcs-new-wonder-years-succeeds-by-centering-a-black-family-in-1968",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Experienced critics know: sometimes it pays to be skeptical of TV show revivals that try to make an old series feel fresh by changing the race of the main characters.\u003c/p>\n\u003cp>But ABC’s Black-centered reimagining of TV’s classic exercise in nostalgia, \u003ca href=\"https://abc.com/shows/the-wonder-years/episode-guide/season-01/01-pilot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wonder Years\u003c/em>\u003c/a>\u003cem>,\u003c/em> avoids that pitfall for a simple reason. The year in which it is set, 1968, was one of the most pivotal times for Black America in recent history.\u003c/p>\n\u003cp>Think about it. Malcom X had already been assassinated. Riots over racial issues convulsed poor Black neighborhoods from New York City to Los Angeles. The Vietnam War was claiming more young brothers every year. And Black artists like Stevie Wonder, Marvin Gaye and Curtis Mayfield were trying to shrug off their buttoned-down images and bring a grittier, street-level energy to their art.\u003c/p>\n\u003cp>That’s why I was so excited to see that, in ABC’s new version of \u003cem>The Wonder Years\u003c/em>, 12-year-old Drew Williams’ father was a too-cool R&B musician who also teaches at a local college in Birmingham, Alabama. Played by \u003cem>The West Wing\u003c/em> and \u003cem>Psych\u003c/em> alum Dulé Hill, Papa Williams has a hit record on the radio and a habit of telling his family to “be cool” whenever a tense moment approaches.\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/ZlDgPSws6Oc'\n title='//www.youtube.com/embed/ZlDgPSws6Oc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pilot episode set the scene quickly, with charismatic star Don Cheadle serving as Dean’s grown-up voice, narrating the action as if he was looking back through a slender haze of nostalgia.\u003c/p>\n\u003cp>“Growing up, Mom and Dad gave me ‘the police talk,’ about how to handle yourself around cops,” Cheadle says over images of young Dean (Elisha “E.J.” Williams) riding a bike through his neighborhood, a \u003ca href=\"https://memphismusichalloffame.com/inductee/samanddave/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam and Dave\u003c/a> song percolating in the background. “There was a presidential election that created a racial divide, and there was a flu pandemic that they said would kill a million people around the world. But it was 1968… and that’s the state our country was in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903607",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Surprise! Turns out that 1968 was more like 2021 than you might think.\u003c/p>\n\u003cp>What I love most about this new \u003cem>Wonder Years\u003c/em> is how it balances coming-of-age moments which are universal for middle class Americans—bullies at school, wanting your crush to notice you, struggling not to embarrass yourself at a Little League game—with stuff that was specific to Black families like mine.\u003c/p>\n\u003cp>Dean’s dad cautions him that setting up a Little League game against a white team might not end well. When Dean asks about certain subjects his parents are talking about, he’s reprimanded with a curt command: “Stay out of grown folks’ business.” Dean has to wonder if his white teacher is racist in a way that might actually help him, and gets beat up in school for acting too white.\u003c/p>\n\u003cp>And a twist at the episode’s end brings home how different this era can be for Black folks hoping to reach toward equality in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13903781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-4-4c4a7b27573d04b6aa2a7dc57d51e7a213164b7a-800x600.jpe\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Elisha Williams as Dean Williams in ‘The Wonder Years’ reboot. \u003ccite>(Erika Doss/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent rewatch of the original \u003cem>Wonder Years\u003c/em> pilot from 1988, starring Fred Savage as 12-year-old Kevin Arnold and soon-to-be \u003cem>Home Alone\u003c/em> costar Daniel Stern as his grown-up voice, reveals a show positioned as a baby boomer’s manifesto. Kevin is heading into middle school struggling to balance his geeky friends, overbearing siblings, a simmering crush on a neighbor and the occasional intrusion of bigger events, including—spoiler alert—the death of a neighborhood boy drafted to serve in the Vietnam War.\u003c/p>\n\u003cp>Filled with needle drops worthy of \u003ca href=\"https://www.imdb.com/title/tt0085244/soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Chill\u003c/em> soundtrack\u003c/a>—\u003cem>When a Man Loves a Woman, Turn, Turn, Turn\u003c/em> and \u003cem>With a Little Help From My Friends\u003c/em> were in the pilot episode alone—the show explained the formative years of a generation reared in a suburban paradise and tempered by war in Vietnam, sliding from the Age of the Greasers to the Age of The Hippies.\u003c/p>\n\u003cp>Their world was so white it almost hurts your eyes to look at it now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903303",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>One big reason changing the races of characters in a series reboot can make sense is because the adjustment can reclaim a bit of cultural space—allowing people of color to tell their own stories in a fictional world where they had previously been rendered invisible. (Though it is interesting that series star Fred Savage also serves as an executive producer for the reboot and directed the pilot episode.)\u003c/p>\n\u003cp>That’s the real reason I enjoyed the new \u003cem>Wonder Years \u003c/em>reboot so much. Here, I’m not the one trying to imagine how people like me would fit into a narrative set at such an important time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, just maybe, the rest of America might learn a little more about its history by seeing those pivotal moments from a perspective different than their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=ABC%27s+New+%27Wonder+Years%27+Succeeds+By+Centering+A+Black+Family+In+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903779/abcs-new-wonder-years-succeeds-by-centering-a-black-family-in-1968",
"authors": [
"byline_arts_13903779"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8482",
"arts_15659",
"arts_15656"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903780",
"label": "arts_137"
},
"arts_13903685": {
"type": "posts",
"id": "arts_13903685",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903685",
"score": null,
"sort": [
1632420663000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1632420663,
"format": "standard",
"title": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained",
"headTitle": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained | KQED",
"content": "\u003cp>If you’ve been having some trouble keeping up with all of the Nicki Minaj drama circulating on the internet these last few weeks, you are not alone. Chances are, most of what you’ve heard has revolved around Nicki’s assertion that one of her cousin’s friends got swollen testicles from the COVID vaccine, which apparently made him impotent, which apparently made his girlfriend leave him.\u003c/p>\n\u003cp>https://twitter.com/nickiminaj/status/1437532566945341441\u003c/p>\n\u003cp>Truly, a tweet this preposterous is impossible for the internet to ignore, which is why \u003ca href=\"https://twitter.com/KevzPolitics/status/1438183898358366208?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Trinidad and Tobago’s health minister debunked Minaj’s claims\u003c/a>. \u003ca href=\"https://twitter.com/gaybonez/status/1440709750182670343\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter is still roasting her for it\u003c/a> almost two weeks later. For some observers, however, the testicular Minaj tweet looks an awful lot like a deflection; a distraction from the very real legal trouble she and her husband, Kenneth “Zoo” Petty, are currently embroiled in. Legal trouble that could do Minaj’s reputation a lot more damage than asking people to “pray on it“ before they get vaccinated. And yesterday, that legal trouble hit daytime TV when Jennifer Hough made a heart-rending appearance on \u003cem>The Real\u003c/em>.\u003c/p>\n\u003cp>Hough’s interview follows a civil lawsuit she filed on Aug. 13 against Minaj and Petty. According to legal \u003ca href=\"https://www.eonline.com/news/1298910/nicki-minaj-and-husband-kenneth-petty-sued-by-his-sexual-assault-accuser\" target=\"_blank\" rel=\"noopener noreferrer\">documents obtained by E! News\u003c/a> last month, Hough’s suit accuses the couple of a litany of serious offenses. These include: harassment, assault, battery, sexual assault and sexual harassment, witness intimidation and intentional and negligent infliction of emotional distress. The suit also accuses Minaj of threatening and attempting to bribe Hough. At one point, E! reports, the suit states:\u003c/p>\n\u003cblockquote>\u003cp>As a direct result of the actions of Defendant Minaj and Defendant Petty, [Hough] has been traumatized her entire life. Plaintiff has moved to multiple states to avoid intimidation and harassment by Defendant Minaj, Defendant, and their allies, legal teams, and fans.\u003c/p>\u003c/blockquote>\n\u003cp>If you haven’t been following along in real time, you might be wondering where all of this stems from. To explain, we have to go way back to 1994. Specifically, Sept. 16, 1994—the day a 16-year-old Hough accused a 16-year-old Petty of rape. Hough reported that Petty approached her while she waited at a Jamaica, Queens bus stop, pressed an object to her back, forced her into a nearby house, fought against her objections, and raped her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Petty was subsequently charged with first degree rape, but on April 5, 1995, he pleaded guilty to—and was convicted of—attempted rape in the first degree. (The \u003ca href=\"https://www.criminaljustice.ny.gov/SomsSUBDirectory/ReCaptchaServlet?offenderId=7370&g-recaptcha-response=03AGdBq24_X-gC_S78M_WKF0HaXwprUMZF07B0VeGUImVtZ_zP2DF0VkiBGy6kgbpM3Jcx1Gj3AZYgqNI0A_VNZHWQfaDbr1halHa3bZyK-O1KA917OUOqk1CW5RwIAS3RZG-9m-Z3X0KAVrGG1VVEoMdRIhq2z3yqCaK3nkOQzNsw1Zq-TRC1W9USrFXA4pglgwZDjknoKGzaGzIPTlvhvrqUQSf9MG51xuL2JcZO2BBMDeE2QBp9g0LBkZdZEDabs2a9XMkEq2Vsg65He2gxVCOXXCopmBxIByMnVZwsg0DG3QamQCVGKFgtpJ-9Am9Bak0PPLhuMd8NfAO0XVmt34APkTDozwMBQpLOTHGf5s2SMHimbHW1WBl8GEMhikDqOofhd7VKcyVmVanSBY82Q7LdlvLyDflkAkamEiPSYHSUhxn6kj_oBi4iWxeU7ToUKlyXQdL8Nfpch7ghtRSTPnkG2A36-_1uDA&Submit=Search\" target=\"_blank\" rel=\"noopener noreferrer\">offense listed on his conviction\u003c/a>, however, states that “Actual, Sexual Intercourse” took place. It also states that he was in possession of a “Knife/cutting instrument” at the time of the attack.) Two days before his 17th birthday, Petty was sentenced to “18 to 54 months” in a state penitentiary. He served nearly four years for the attack on Hough.\u003c/p>\n\u003cp>[aside postid='futureofyou_438664']On his release, Petty returned to Queens and promptly began a relationship with a 17-year-old Nicki Minaj—then known by her real name, Onika Tanya Maraj. But Petty didn’t stay out of trouble for long. By 2006—just one year before Minaj would release her first mixtape, \u003cem>Playtime is Over\u003c/em>—Petty pleaded guilty to manslaughter charges, following a 2002 incident in which he shot and killed a man named Lamont Robinson.\u003c/p>\n\u003cp>According to \u003cem>Billboard\u003c/em>, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8533743/who-did-nicki-minaj-marry-kenneth-petty\" target=\"_blank\" rel=\"noopener noreferrer\">Petty served seven years\u003c/a> before entering a supervised release program in 2013. He stayed in the program until 2018—the year he reunited with Minaj.\u003c/p>\n\u003cp>At that time, the couple’s reunion prompted the internet and tabloid media to begin reporting on Petty’s prior convictions in earnest. One \u003ca href=\"https://www.tmz.com/2018/12/22/nicki-minaj-boyfriend-kenneth-petty-manslaughter-shot-three-times-stomach/\" target=\"_blank\" rel=\"noopener noreferrer\">report from TMZ\u003c/a> that year, titled “Nicki Minaj’s BF Manslaughter Case Was Cold-Blooded,” stated:\u003c/p>\n\u003cblockquote>\u003cp>We’re told Petty drove to the crime scene with a group of cohorts, hopped out of the car, walked across the street where Robinson was hanging out, pulled out a gun … and shot him in the stomach three times. Our sources say he then fled in the vehicle with the group.\u003c/p>\u003c/blockquote>\n\u003cp>This kind of media attention quickly put Minaj on the offensive. In June 2019, she included Petty in her video for “\u003ca href=\"https://www.youtube.com/watch?v=C3a1sz2Bp_E\" target=\"_blank\" rel=\"noopener noreferrer\">Megatron\u003c/a>.” The track includes the lyrics, “I fuck him like I miss him / He just got out of prison / Bitches be talking shit / But they ain’t got a pot to piss in.” The following month, during a featured spot on Chance the Rapper’s “Zanies and Fools,” Minaj rapped: “I met my husband when I was 17 out in Queens / If you love it, let it go, now I know what that means / While he was up North for a body, I bodied everybody and got known for my body.”\u003c/p>\n\u003cp>Also in 2019, during an episode of her Apple Music show, \u003cem>Queen Radio\u003c/em>, Minaj claimed that Petty was “wrongfully accused … when he was 15 years old.” (Petty’s arrest record clearly states he was 16 at the time of Hough’s assault.) Minaj went on to claim that Hough had attempted to recant her accusation, but didn’t after she was threatened with legal penalties for doing so. (\u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Hough has denied this\u003c/a>.) Minaj also used the phrase, “White is right,” implying that Hough was a white woman. She is not.\u003c/p>\n\u003cp>https://twitter.com/britneyxmariah/status/1440695471572283411\u003c/p>\n\u003cp>On another occasion, while defending Petty on Instagram in relation to the Hough case, Minaj claimed: “He was 15, she was 16 … in a relationship. But go awf Internet. y’all can’t run my life. Y’all can’t even run y’all own life.” In \u003cem>The Real\u003c/em> interview, Hough also denied that she and Petty dated.\u003c/p>\n\u003cp>[aside postid='pop_109382']Undeterred by Petty’s criminal history, or the negative publicity it was attracting, Minaj married him in October 2019. After moving from New York to Minaj’s home in L.A., Petty was pulled over by Beverly Hills police. The police discovered that Petty had failed to register as a sex offender when he moved to California—a condition left over from his 1995 conviction. On Sept. 9, Petty pleaded guilty during a virtual court hearing on the matter. He is expected to be sentenced in January 2022 and faces up to 10 years in prison.\u003c/p>\n\u003cp>Which brings us back to Hough’s appearance on \u003cem>The Real\u003c/em> yesterday. Hough, visibly nervous and frequently tearful, cut a sympathetic figure. “I’m tired of being afraid,” she said. “I feel like the actions that were taken in regards to this whole situation have put me in a different type of fear.”\u003c/p>\n\u003cp>Hough went on to claim that, over the last couple of years, Minaj and Petty had “sent people” repeatedly to try and negotiate a financial sum with her, in an attempt to buy her silence. She said that after consistently refusing to cooperate with the couple, threats on her life were made. “The last message I received,” Hough said, “was that I should’ve taken the money ’cause they’re gonna use that money to put on my head.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SPugv3HtrqA\u003c/p>\n\u003cp>A \u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Beast\u003c/a> article from March confirms that Hough had moved three times in 2020 alone, out of concern for her personal safety.\u003c/p>\n\u003cp>Hough’s appearance on \u003cem>The Real\u003c/em> is bound to raise her public profile to a degree that might get uncomfortable for her. But it also caused something of a Minaj backlash on social media last night, even as the rapper attempted to boost the voices of her defenders by \u003ca href=\"https://twitter.com/ritaeatspitas/status/1440832709236981769\" target=\"_blank\" rel=\"noopener noreferrer\">“liking” their positive posts\u003c/a> about her.\u003c/p>\n\u003cp>\u003cem>The Real\u003c/em> was a means for Hough to take back a narrative Minaj has used her considerable platform to try and control for the last three years. It was a means for Hough to show her humanity beyond salacious tabloid headlines. And it was a chance to explain the emotional and mental scars wrought by what happened to her in her teens, and how the fallout of that case continues to affect her now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2018, on the track “Nip Tuck,” Minaj compared herself to Teflon. She may have spoken too soon.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1436,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705007703,
"excerpt": "Here’s everything you need to know about the back-and-forth between Minaj and Kenneth Petty and rape survivor Hough.",
"headData": {
"twImgId": "",
"twTitle": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained",
"socialTitle": "Nicki Minaj and Husband Face a Harassment Lawsuit. Here’s Why %%page%% %%sep%% KQED",
"ogTitle": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained",
"ogImgId": "",
"twDescription": "",
"description": "Here’s everything you need to know about the back-and-forth between Minaj and Kenneth Petty and rape survivor Hough.",
"title": "Nicki Minaj and Husband Face a Harassment Lawsuit. Here’s Why | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained",
"datePublished": "2021-09-23T11:11:03-07:00",
"dateModified": "2024-01-11T13:15:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nicki-minaj-kenneth-petty-jennifer-hough-civil-lawsuit-attempted-rape-harassment",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13903685/nicki-minaj-kenneth-petty-jennifer-hough-civil-lawsuit-attempted-rape-harassment",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been having some trouble keeping up with all of the Nicki Minaj drama circulating on the internet these last few weeks, you are not alone. Chances are, most of what you’ve heard has revolved around Nicki’s assertion that one of her cousin’s friends got swollen testicles from the COVID vaccine, which apparently made him impotent, which apparently made his girlfriend leave him.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1437532566945341441"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Truly, a tweet this preposterous is impossible for the internet to ignore, which is why \u003ca href=\"https://twitter.com/KevzPolitics/status/1438183898358366208?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Trinidad and Tobago’s health minister debunked Minaj’s claims\u003c/a>. \u003ca href=\"https://twitter.com/gaybonez/status/1440709750182670343\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter is still roasting her for it\u003c/a> almost two weeks later. For some observers, however, the testicular Minaj tweet looks an awful lot like a deflection; a distraction from the very real legal trouble she and her husband, Kenneth “Zoo” Petty, are currently embroiled in. Legal trouble that could do Minaj’s reputation a lot more damage than asking people to “pray on it“ before they get vaccinated. And yesterday, that legal trouble hit daytime TV when Jennifer Hough made a heart-rending appearance on \u003cem>The Real\u003c/em>.\u003c/p>\n\u003cp>Hough’s interview follows a civil lawsuit she filed on Aug. 13 against Minaj and Petty. According to legal \u003ca href=\"https://www.eonline.com/news/1298910/nicki-minaj-and-husband-kenneth-petty-sued-by-his-sexual-assault-accuser\" target=\"_blank\" rel=\"noopener noreferrer\">documents obtained by E! News\u003c/a> last month, Hough’s suit accuses the couple of a litany of serious offenses. These include: harassment, assault, battery, sexual assault and sexual harassment, witness intimidation and intentional and negligent infliction of emotional distress. The suit also accuses Minaj of threatening and attempting to bribe Hough. At one point, E! reports, the suit states:\u003c/p>\n\u003cblockquote>\u003cp>As a direct result of the actions of Defendant Minaj and Defendant Petty, [Hough] has been traumatized her entire life. Plaintiff has moved to multiple states to avoid intimidation and harassment by Defendant Minaj, Defendant, and their allies, legal teams, and fans.\u003c/p>\u003c/blockquote>\n\u003cp>If you haven’t been following along in real time, you might be wondering where all of this stems from. To explain, we have to go way back to 1994. Specifically, Sept. 16, 1994—the day a 16-year-old Hough accused a 16-year-old Petty of rape. Hough reported that Petty approached her while she waited at a Jamaica, Queens bus stop, pressed an object to her back, forced her into a nearby house, fought against her objections, and raped her.\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>Petty was subsequently charged with first degree rape, but on April 5, 1995, he pleaded guilty to—and was convicted of—attempted rape in the first degree. (The \u003ca href=\"https://www.criminaljustice.ny.gov/SomsSUBDirectory/ReCaptchaServlet?offenderId=7370&g-recaptcha-response=03AGdBq24_X-gC_S78M_WKF0HaXwprUMZF07B0VeGUImVtZ_zP2DF0VkiBGy6kgbpM3Jcx1Gj3AZYgqNI0A_VNZHWQfaDbr1halHa3bZyK-O1KA917OUOqk1CW5RwIAS3RZG-9m-Z3X0KAVrGG1VVEoMdRIhq2z3yqCaK3nkOQzNsw1Zq-TRC1W9USrFXA4pglgwZDjknoKGzaGzIPTlvhvrqUQSf9MG51xuL2JcZO2BBMDeE2QBp9g0LBkZdZEDabs2a9XMkEq2Vsg65He2gxVCOXXCopmBxIByMnVZwsg0DG3QamQCVGKFgtpJ-9Am9Bak0PPLhuMd8NfAO0XVmt34APkTDozwMBQpLOTHGf5s2SMHimbHW1WBl8GEMhikDqOofhd7VKcyVmVanSBY82Q7LdlvLyDflkAkamEiPSYHSUhxn6kj_oBi4iWxeU7ToUKlyXQdL8Nfpch7ghtRSTPnkG2A36-_1uDA&Submit=Search\" target=\"_blank\" rel=\"noopener noreferrer\">offense listed on his conviction\u003c/a>, however, states that “Actual, Sexual Intercourse” took place. It also states that he was in possession of a “Knife/cutting instrument” at the time of the attack.) Two days before his 17th birthday, Petty was sentenced to “18 to 54 months” in a state penitentiary. He served nearly four years for the attack on Hough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "futureofyou_438664",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>On his release, Petty returned to Queens and promptly began a relationship with a 17-year-old Nicki Minaj—then known by her real name, Onika Tanya Maraj. But Petty didn’t stay out of trouble for long. By 2006—just one year before Minaj would release her first mixtape, \u003cem>Playtime is Over\u003c/em>—Petty pleaded guilty to manslaughter charges, following a 2002 incident in which he shot and killed a man named Lamont Robinson.\u003c/p>\n\u003cp>According to \u003cem>Billboard\u003c/em>, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8533743/who-did-nicki-minaj-marry-kenneth-petty\" target=\"_blank\" rel=\"noopener noreferrer\">Petty served seven years\u003c/a> before entering a supervised release program in 2013. He stayed in the program until 2018—the year he reunited with Minaj.\u003c/p>\n\u003cp>At that time, the couple’s reunion prompted the internet and tabloid media to begin reporting on Petty’s prior convictions in earnest. One \u003ca href=\"https://www.tmz.com/2018/12/22/nicki-minaj-boyfriend-kenneth-petty-manslaughter-shot-three-times-stomach/\" target=\"_blank\" rel=\"noopener noreferrer\">report from TMZ\u003c/a> that year, titled “Nicki Minaj’s BF Manslaughter Case Was Cold-Blooded,” stated:\u003c/p>\n\u003cblockquote>\u003cp>We’re told Petty drove to the crime scene with a group of cohorts, hopped out of the car, walked across the street where Robinson was hanging out, pulled out a gun … and shot him in the stomach three times. Our sources say he then fled in the vehicle with the group.\u003c/p>\u003c/blockquote>\n\u003cp>This kind of media attention quickly put Minaj on the offensive. In June 2019, she included Petty in her video for “\u003ca href=\"https://www.youtube.com/watch?v=C3a1sz2Bp_E\" target=\"_blank\" rel=\"noopener noreferrer\">Megatron\u003c/a>.” The track includes the lyrics, “I fuck him like I miss him / He just got out of prison / Bitches be talking shit / But they ain’t got a pot to piss in.” The following month, during a featured spot on Chance the Rapper’s “Zanies and Fools,” Minaj rapped: “I met my husband when I was 17 out in Queens / If you love it, let it go, now I know what that means / While he was up North for a body, I bodied everybody and got known for my body.”\u003c/p>\n\u003cp>Also in 2019, during an episode of her Apple Music show, \u003cem>Queen Radio\u003c/em>, Minaj claimed that Petty was “wrongfully accused … when he was 15 years old.” (Petty’s arrest record clearly states he was 16 at the time of Hough’s assault.) Minaj went on to claim that Hough had attempted to recant her accusation, but didn’t after she was threatened with legal penalties for doing so. (\u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Hough has denied this\u003c/a>.) Minaj also used the phrase, “White is right,” implying that Hough was a white woman. She is not.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1440695471572283411"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On another occasion, while defending Petty on Instagram in relation to the Hough case, Minaj claimed: “He was 15, she was 16 … in a relationship. But go awf Internet. y’all can’t run my life. Y’all can’t even run y’all own life.” In \u003cem>The Real\u003c/em> interview, Hough also denied that she and Petty dated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_109382",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Undeterred by Petty’s criminal history, or the negative publicity it was attracting, Minaj married him in October 2019. After moving from New York to Minaj’s home in L.A., Petty was pulled over by Beverly Hills police. The police discovered that Petty had failed to register as a sex offender when he moved to California—a condition left over from his 1995 conviction. On Sept. 9, Petty pleaded guilty during a virtual court hearing on the matter. He is expected to be sentenced in January 2022 and faces up to 10 years in prison.\u003c/p>\n\u003cp>Which brings us back to Hough’s appearance on \u003cem>The Real\u003c/em> yesterday. Hough, visibly nervous and frequently tearful, cut a sympathetic figure. “I’m tired of being afraid,” she said. “I feel like the actions that were taken in regards to this whole situation have put me in a different type of fear.”\u003c/p>\n\u003cp>Hough went on to claim that, over the last couple of years, Minaj and Petty had “sent people” repeatedly to try and negotiate a financial sum with her, in an attempt to buy her silence. She said that after consistently refusing to cooperate with the couple, threats on her life were made. “The last message I received,” Hough said, “was that I should’ve taken the money ’cause they’re gonna use that money to put on my head.”\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/SPugv3HtrqA'\n title='//www.youtube.com/embed/SPugv3HtrqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A \u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Beast\u003c/a> article from March confirms that Hough had moved three times in 2020 alone, out of concern for her personal safety.\u003c/p>\n\u003cp>Hough’s appearance on \u003cem>The Real\u003c/em> is bound to raise her public profile to a degree that might get uncomfortable for her. But it also caused something of a Minaj backlash on social media last night, even as the rapper attempted to boost the voices of her defenders by \u003ca href=\"https://twitter.com/ritaeatspitas/status/1440832709236981769\" target=\"_blank\" rel=\"noopener noreferrer\">“liking” their positive posts\u003c/a> about her.\u003c/p>\n\u003cp>\u003cem>The Real\u003c/em> was a means for Hough to take back a narrative Minaj has used her considerable platform to try and control for the last three years. It was a means for Hough to show her humanity beyond salacious tabloid headlines. And it was a chance to explain the emotional and mental scars wrought by what happened to her in her teens, and how the fallout of that case continues to affect her now.\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>In 2018, on the track “Nip Tuck,” Minaj compared herself to Teflon. She may have spoken too soon.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903685/nicki-minaj-kenneth-petty-jennifer-hough-civil-lawsuit-attempted-rape-harassment",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_2303",
"arts_69",
"arts_75"
],
"tags": [
"arts_11323",
"arts_2767",
"arts_10278",
"arts_2462"
],
"featImg": "arts_13903691",
"label": "arts"
},
"arts_13903607": {
"type": "posts",
"id": "arts_13903607",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903607",
"score": null,
"sort": [
1632334168000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1632334168,
"format": "standard",
"title": "Disney+ Anime Anthology 'Star Wars: Visions' Expands the Galaxy Far, Far Away",
"headTitle": "Disney+ Anime Anthology ‘Star Wars: Visions’ Expands the Galaxy Far, Far Away | KQED",
"content": "\u003cp>Let’s get this out of the way: It’s uneven.\u003c/p>\n\u003cp>There.\u003c/p>\n\u003cp>Any anthology series has episodes that work better than others. \u003cem>Star Wars: Visions\u003c/em> is an anthology series; some of its episodes work better than others.\u003c/p>\n\u003cp>Which episodes work better for you will depend entirely on what you come to the \u003cem>Star Wars\u003c/em> franchise for.\u003c/p>\n\u003cp>Is it the epic space battles? You won’t find those here. These episodes tend to tell smaller stories set on various planets—including a few that will be all-too-familiar to fans of the franchise—so if you’re a devotee of space-dogfights in space-trenches, look elsewhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, if you’re a fan of \u003cem>Star Wars\u003c/em>‘ penchant for charming rogues and daring rescues and narrow escapes—the swashbuckling derring-do that has its genesis in George Lucas’ avowed love for movie serials—keep walking.\u003c/p>\n\u003cp>[aside postid='pop_50308']But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtAsl-0o3O0\u003c/p>\n\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>[aside postid='pop_103268']… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='pop_83529']If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 931,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705007711,
"excerpt": "Each episode of 'Star Wars: Visions' represents a fundamental and sweeping visual reimagining through an anime lens.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Each episode of 'Star Wars: Visions' represents a fundamental and sweeping visual reimagining through an anime lens.",
"title": "Disney+ Anime Anthology 'Star Wars: Visions' Expands the Galaxy Far, Far Away | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Disney+ Anime Anthology 'Star Wars: Visions' Expands the Galaxy Far, Far Away",
"datePublished": "2021-09-22T11:09:28-07:00",
"dateModified": "2024-01-11T13:15:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "disney-anime-anthology-star-wars-visions-expands-the-galaxy-far-far-away",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1039233730&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Glen Weldon",
"nprStoryDate": "Wed, 22 Sep 2021 06:43:39 -0400",
"nprLastModifiedDate": "Wed, 22 Sep 2021 06:43:39 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/09/22/1039233730/anime-anthology-star-wars-visions-expands-the-galaxy-far-far-away?ft=nprml&f=1039233730",
"nprImageAgency": "Lucasfilm Ltd.",
"nprStoryId": "1039233730",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Sep 2021 06:43:00 -0400",
"path": "/arts/13903607/disney-anime-anthology-star-wars-visions-expands-the-galaxy-far-far-away",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way: It’s uneven.\u003c/p>\n\u003cp>There.\u003c/p>\n\u003cp>Any anthology series has episodes that work better than others. \u003cem>Star Wars: Visions\u003c/em> is an anthology series; some of its episodes work better than others.\u003c/p>\n\u003cp>Which episodes work better for you will depend entirely on what you come to the \u003cem>Star Wars\u003c/em> franchise for.\u003c/p>\n\u003cp>Is it the epic space battles? You won’t find those here. These episodes tend to tell smaller stories set on various planets—including a few that will be all-too-familiar to fans of the franchise—so if you’re a devotee of space-dogfights in space-trenches, look elsewhere.\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>Similarly, if you’re a fan of \u003cem>Star Wars\u003c/em>‘ penchant for charming rogues and daring rescues and narrow escapes—the swashbuckling derring-do that has its genesis in George Lucas’ avowed love for movie serials—keep walking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_50308",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\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/jtAsl-0o3O0'\n title='//www.youtube.com/embed/jtAsl-0o3O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_103268",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_83529",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903607/disney-anime-anthology-star-wars-visions-expands-the-galaxy-far-far-away",
"authors": [
"byline_arts_13903607"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_4262",
"arts_3114",
"arts_977",
"arts_12322",
"arts_3241"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903608",
"label": "arts_137"
},
"arts_13903595": {
"type": "posts",
"id": "arts_13903595",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903595",
"score": null,
"sort": [
1632293375000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1632293375,
"format": "standard",
"title": "Beloved 'Sex and the City' Actor Willie Garson Dies at 57",
"headTitle": "Beloved ‘Sex and the City’ Actor Willie Garson Dies at 57 | KQED",
"content": "\u003cp>Willie Garson, who played Stanford Blatch, Carrie Bradshaw’s friend on TV’s \u003cem>Sex and the City\u003c/em> and its movie sequels, has died, his son announced Tuesday. He was 57.\u003c/p>\n\u003cp>“I love you so much papa. Rest In Peace and I’m so glad you got to share all your adventures with me and were able to accomplish so much,” Nathen Garson wrote on Instagram. “I’m so proud of you.”\u003c/p>\n\u003cp>“You always were the toughest and funniest and smartest person I’ve known,” his son added.\u003c/p>\n\u003cp>https://www.instagram.com/p/CUGhqQHv9UV/\u003c/p>\n\u003cp>No details of Garson’s death were released. Messages seeking comment from his representatives weren’t immediately returned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Garson portrayed Blatch, a talent agent and the devoted and stylish best male friend to Sarah Jessica Parker’s Carrie for six seasons. He reprised the role in the films \u003cem>Sex and the City\u003c/em> and \u003cem>Sex and the City 2\u003c/em>, and had been filming an upcoming series revival for HBO Max called \u003cem>And Just Like That\u003c/em>.\u003c/p>\n\u003cp>Cynthia Nixon, who played Miranda Hobbes in the series, expressed her sorrow in a tweet.\u003c/p>\n\u003cp>“We all loved him and adored working with him. He was endlessly funny on-screen and in real life,” she wrote. “He was a source of light, friendship and show business lore. He was a consummate professional—always.”\u003c/p>\n\u003cp>https://twitter.com/CynthiaNixon/status/1440481643936948238\u003c/p>\n\u003cp>“I couldn’t have had a more brilliant TV partner,” tweeted \u003ca href=\"https://twitter.com/macantone/status/1440466454160101382\" target=\"_blank\" rel=\"noopener noreferrer\">Mario Cantone\u003c/a>, who played Garson’s husband in \u003cem>Sex and the City\u003c/em>. “I’m devastated and just overwhelmed with sadness.”\u003c/p>\n\u003cp>He added: “You were a gift from the gods.”\u003c/p>\n\u003cp>“Willie Garson was in life, as on screen, a devoted friend and a bright light for everyone in his universe. He created one of the most beloved characters from the HBO pantheon and was a member of our family for nearly 25 years,” an \u003ca href=\"https://www.facebook.com/HBO/photos/a.10151984366148933/10160234254523933\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Facebook statement\u003c/a> said. “We are deeply saddened to learn of his passing and extend our sincere condolences to his family and loved ones.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4g8w4ikcR5g\u003c/p>\n\u003cp>Born William Garson Paszamant in Highland Park, New Jersey, Garson began studying acting at age 13 at the Actors Institute in New York. He made hundreds of appearances on TV and in motion pictures.\u003c/p>\n\u003cp>Besides \u003cem>Sex and the City\u003c/em>, he was perhaps best known as Mozzie, a con man on the TV show \u003cem>White Collar\u003c/em>, and also had recurring roles on \u003cem>NYPD Blue\u003c/em>, \u003cem>Hawaii Five-0\u003c/em> and \u003cem>Supergirl\u003c/em>.\u003c/p>\n\u003cp>Garson, who was an advocate for adoption agencies, adopted his son, Nathen, in 2009 and marked the adoption in a January \u003ca href=\"https://www.instagram.com/willie.garson\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram posting\u003c/a> that read: “Best day of my life. Always.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQVvJn4HNOu/\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beloved+%27Sex+And+The+City%27+Actor+Willie+Garson+Dies+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 489,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705007713,
"excerpt": "Garson portrayed Stanford Blatch, the devoted and stylish best male friend to Sarah Jessica Parker's Carrie, for six seasons. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Garson portrayed Stanford Blatch, the devoted and stylish best male friend to Sarah Jessica Parker's Carrie, for six seasons. ",
"title": "Beloved 'Sex and the City' Actor Willie Garson Dies at 57 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beloved 'Sex and the City' Actor Willie Garson Dies at 57",
"datePublished": "2021-09-21T23:49:35-07:00",
"dateModified": "2024-01-11T13:15:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beloved-sex-and-the-city-actor-willie-garson-dies-at-57",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1039545276&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "The Associated Press",
"nprStoryDate": "Wed, 22 Sep 2021 00:44:56 -0400",
"nprLastModifiedDate": "Wed, 22 Sep 2021 00:44:56 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/09/22/1039545276/beloved-sex-and-the-city-actor-willie-garson-dies-at-57?ft=nprml&f=1039545276",
"nprImageAgency": "AP",
"nprStoryId": "1039545276",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Sep 2021 00:44:00 -0400",
"path": "/arts/13903595/beloved-sex-and-the-city-actor-willie-garson-dies-at-57",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Willie Garson, who played Stanford Blatch, Carrie Bradshaw’s friend on TV’s \u003cem>Sex and the City\u003c/em> and its movie sequels, has died, his son announced Tuesday. He was 57.\u003c/p>\n\u003cp>“I love you so much papa. Rest In Peace and I’m so glad you got to share all your adventures with me and were able to accomplish so much,” Nathen Garson wrote on Instagram. “I’m so proud of you.”\u003c/p>\n\u003cp>“You always were the toughest and funniest and smartest person I’ve known,” his son added.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CUGhqQHv9UV/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No details of Garson’s death were released. Messages seeking comment from his representatives weren’t immediately returned.\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>Garson portrayed Blatch, a talent agent and the devoted and stylish best male friend to Sarah Jessica Parker’s Carrie for six seasons. He reprised the role in the films \u003cem>Sex and the City\u003c/em> and \u003cem>Sex and the City 2\u003c/em>, and had been filming an upcoming series revival for HBO Max called \u003cem>And Just Like That\u003c/em>.\u003c/p>\n\u003cp>Cynthia Nixon, who played Miranda Hobbes in the series, expressed her sorrow in a tweet.\u003c/p>\n\u003cp>“We all loved him and adored working with him. He was endlessly funny on-screen and in real life,” she wrote. “He was a source of light, friendship and show business lore. He was a consummate professional—always.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1440481643936948238"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I couldn’t have had a more brilliant TV partner,” tweeted \u003ca href=\"https://twitter.com/macantone/status/1440466454160101382\" target=\"_blank\" rel=\"noopener noreferrer\">Mario Cantone\u003c/a>, who played Garson’s husband in \u003cem>Sex and the City\u003c/em>. “I’m devastated and just overwhelmed with sadness.”\u003c/p>\n\u003cp>He added: “You were a gift from the gods.”\u003c/p>\n\u003cp>“Willie Garson was in life, as on screen, a devoted friend and a bright light for everyone in his universe. He created one of the most beloved characters from the HBO pantheon and was a member of our family for nearly 25 years,” an \u003ca href=\"https://www.facebook.com/HBO/photos/a.10151984366148933/10160234254523933\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Facebook statement\u003c/a> said. “We are deeply saddened to learn of his passing and extend our sincere condolences to his family and loved ones.”\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/4g8w4ikcR5g'\n title='//www.youtube.com/embed/4g8w4ikcR5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born William Garson Paszamant in Highland Park, New Jersey, Garson began studying acting at age 13 at the Actors Institute in New York. He made hundreds of appearances on TV and in motion pictures.\u003c/p>\n\u003cp>Besides \u003cem>Sex and the City\u003c/em>, he was perhaps best known as Mozzie, a con man on the TV show \u003cem>White Collar\u003c/em>, and also had recurring roles on \u003cem>NYPD Blue\u003c/em>, \u003cem>Hawaii Five-0\u003c/em> and \u003cem>Supergirl\u003c/em>.\u003c/p>\n\u003cp>Garson, who was an advocate for adoption agencies, adopted his son, Nathen, in 2009 and marked the adoption in a January \u003ca href=\"https://www.instagram.com/willie.garson\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram posting\u003c/a> that read: “Best day of my life. Always.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CQVvJn4HNOu/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beloved+%27Sex+And+The+City%27+Actor+Willie+Garson+Dies+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903595/beloved-sex-and-the-city-actor-willie-garson-dies-at-57",
"authors": [
"byline_arts_13903595"
],
"categories": [
"arts_1",
"arts_75",
"arts_1564"
],
"tags": [
"arts_4295",
"arts_8350",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903602",
"label": "arts_137"
},
"arts_13903555": {
"type": "posts",
"id": "arts_13903555",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903555",
"score": null,
"sort": [
1632260208000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1632260208,
"format": "standard",
"title": "Watch: JoJo Siwa Bring Unfiltered LGBTQ Joy to ‘Dancing With the Stars’",
"headTitle": "Watch: JoJo Siwa Bring Unfiltered LGBTQ Joy to ‘Dancing With the Stars’ | KQED",
"content": "\u003cp>Run to the nearest fainting couch everybody, because last night, \u003cem>Dancing With the Stars\u003c/em> merrily went where the LGBTQ+ community has been forever, and allowed a same sex couple to dance together. (\u003cem>Oh my!\u003c/em>)\u003c/p>\n\u003cp>[aside postid='pop_96314']JoJo Siwa—\u003ca href=\"https://twitter.com/itsjojosiwa/status/1352719582977355777\" target=\"_blank\" rel=\"noopener noreferrer\">who came out via Twitter\u003c/a> in January—performed a glitter-laden quickstep with Jenna Johnson during the Season 30 premiere. The routine, set to Jet’s “Are You Gonna Be My Girl?” (\u003cem>wink!\u003c/em>) was a slice of kicky, hypercolor glee, with Siwa wearing one of her trademark giant bows across her chest. The judges gave the routine the highest score of the night (29 out of 40) which, given Siwa’s extensive dance training, wasn’t all that surprising. (Spice Girl Mel C only got 27 out of 40 for a \u003ca href=\"https://www.youtube.com/watch?v=dEG5R07Zzow\" target=\"_blank\" rel=\"noopener noreferrer\">damn-near-perfect cha cha\u003c/a> though, so we’ll have to assume it was all that gay joy that propelled Siwa and Johnson to the top.)\u003c/p>\n\u003cp>“There’s a lot of barriers that we’re going to have to break through,” Siwa said of the upcoming season, speaking at a \u003ca href=\"https://variety.com/2021/tv/news/dancing-with-the-stars-cast-jojo-siwa-suni-lee-1235050052/\" target=\"_blank\" rel=\"noopener noreferrer\">Television Critics Association event\u003c/a> in August. “Who leads, how do you dress, what shoes do you wear? But I think it’s all something that I’m looking forward to. It’s going to be tricky, but it’s going to give so much to people out there—people of the LGBTQ community, people who feel just a little different. It’s going to give them a sense of happiness.”\u003c/p>\n\u003cp>You can see JoJo Siwa and Jenna Johnson’s routine in full below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hPPpEALxZBQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dancing With the Stars\u003c/em>’ British equivalent, \u003cem>Strictly Come Dancing\u003c/em>, introduced its first same-sex couple last year when boxer Nicola Adams was paired up with Katya Jones. This year, \u003cem>Strictly\u003c/em> will feature its first male couple, \u003cem>Great British Bake Off\u003c/em> winner John Whaite dancing with Johannes Radebe. (Whaite declared “\u003ca href=\"https://twitter.com/bbcstrictly/status/1439317073679769608\" target=\"_blank\" rel=\"noopener noreferrer\">I want to have hips like Shakira!\u003c/a>” at the partners’ first meeting.) Don’t be surprised if \u003cem>Dancing With the Stars\u003c/em> follows suit next year.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 373,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705007718,
"excerpt": "Siwa is part of the first-ever same-sex dance partnership in 30 seasons of ‘DWTS’—and she won the premiere!",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Siwa is part of the first-ever same-sex dance partnership in 30 seasons of ‘DWTS’—and she won the premiere!",
"title": "Watch: JoJo Siwa Bring Unfiltered LGBTQ Joy to ‘Dancing With the Stars’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch: JoJo Siwa Bring Unfiltered LGBTQ Joy to ‘Dancing With the Stars’",
"datePublished": "2021-09-21T14:36:48-07:00",
"dateModified": "2024-01-11T13:15:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-jojo-siwa-bring-unfiltered-lgbtq-joy-to-dancing-with-the-stars",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13903555/watch-jojo-siwa-bring-unfiltered-lgbtq-joy-to-dancing-with-the-stars",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Run to the nearest fainting couch everybody, because last night, \u003cem>Dancing With the Stars\u003c/em> merrily went where the LGBTQ+ community has been forever, and allowed a same sex couple to dance together. (\u003cem>Oh my!\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_96314",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>JoJo Siwa—\u003ca href=\"https://twitter.com/itsjojosiwa/status/1352719582977355777\" target=\"_blank\" rel=\"noopener noreferrer\">who came out via Twitter\u003c/a> in January—performed a glitter-laden quickstep with Jenna Johnson during the Season 30 premiere. The routine, set to Jet’s “Are You Gonna Be My Girl?” (\u003cem>wink!\u003c/em>) was a slice of kicky, hypercolor glee, with Siwa wearing one of her trademark giant bows across her chest. The judges gave the routine the highest score of the night (29 out of 40) which, given Siwa’s extensive dance training, wasn’t all that surprising. (Spice Girl Mel C only got 27 out of 40 for a \u003ca href=\"https://www.youtube.com/watch?v=dEG5R07Zzow\" target=\"_blank\" rel=\"noopener noreferrer\">damn-near-perfect cha cha\u003c/a> though, so we’ll have to assume it was all that gay joy that propelled Siwa and Johnson to the top.)\u003c/p>\n\u003cp>“There’s a lot of barriers that we’re going to have to break through,” Siwa said of the upcoming season, speaking at a \u003ca href=\"https://variety.com/2021/tv/news/dancing-with-the-stars-cast-jojo-siwa-suni-lee-1235050052/\" target=\"_blank\" rel=\"noopener noreferrer\">Television Critics Association event\u003c/a> in August. “Who leads, how do you dress, what shoes do you wear? But I think it’s all something that I’m looking forward to. It’s going to be tricky, but it’s going to give so much to people out there—people of the LGBTQ community, people who feel just a little different. It’s going to give them a sense of happiness.”\u003c/p>\n\u003cp>You can see JoJo Siwa and Jenna Johnson’s routine in full below.\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/hPPpEALxZBQ'\n title='//www.youtube.com/embed/hPPpEALxZBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dancing With the Stars\u003c/em>’ British equivalent, \u003cem>Strictly Come Dancing\u003c/em>, introduced its first same-sex couple last year when boxer Nicola Adams was paired up with Katya Jones. This year, \u003cem>Strictly\u003c/em> will feature its first male couple, \u003cem>Great British Bake Off\u003c/em> winner John Whaite dancing with Johannes Radebe. (Whaite declared “\u003ca href=\"https://twitter.com/bbcstrictly/status/1439317073679769608\" target=\"_blank\" rel=\"noopener noreferrer\">I want to have hips like Shakira!\u003c/a>” at the partners’ first meeting.) Don’t be surprised if \u003cem>Dancing With the Stars\u003c/em> follows suit next year.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903555/watch-jojo-siwa-bring-unfiltered-lgbtq-joy-to-dancing-with-the-stars",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_966",
"arts_75",
"arts_990"
],
"tags": [
"arts_10278",
"arts_3226"
],
"featImg": "arts_13903561",
"label": "arts"
},
"arts_13903474": {
"type": "posts",
"id": "arts_13903474",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903474",
"score": null,
"sort": [
1632158843000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1632158843,
"format": "standard",
"title": "5 Takeaways From a Big Emmy Night For a Short List of Shows",
"headTitle": "5 Takeaways From a Big Emmy Night For a Short List of Shows | KQED",
"content": "\u003cp>The Primetime Emmy Awards on Sunday night arrived at a moment when both the medium of television and the concept of awards shows are fighting the sense that they might be … you know, old-fashioned.\u003c/p>\n\u003cp>Innovative shows are pushing narrative structures in interesting directions and tackling social issues in new ways with highly personal stories being told about characters often ignored in the past. But the awards show, despite some COVID-related tweaks, remains strictly traditional.\u003c/p>\n\u003cp>Here are five things to know about how it went.\u003c/p>\n\u003ch3>1. The wealth was not shared widely.\u003c/h3>\n\u003cp>Voters responded to the desperate need for new material that can reach new audiences by giving every drama series award they handed out Sunday night to \u003cem>The Crown\u003c/em>, the Netflix drama about the British royal family. Drama series, actor, actress, supporting actor, supporting actress, writing, directing … only one drama series was deemed worthy of recognition.\u003c/p>\n\u003cp>In fact, very few shows were recognized overall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Comedy awards were divided between \u003cem>Hacks \u003c/em>and \u003cem>Ted Lasso\u003c/em>, and limited series awards—perhaps now the most prestigious ones of all—divided among \u003cem>Mare of Easttown\u003c/em>, \u003cem>The Queen’s Gambit, Halston\u003c/em>, and, fortunately, Michaela Coel’s \u003cem>I May Destroy You\u003c/em>. It’s not clear what all the factors are that are leading to this concentration of nominees and winners, but it doesn’t feel particularly auspicious. Last year, \u003cem>Schitt’s Creek \u003c/em>won all the comedy awards too, but it was that show’s last season and it had never won anything, which made it a little less stifling than what happened this year with \u003cem>The Crown \u003c/em>in particular. This looked early on like it might be a year of entirely sweeps, and at this rate we’ll eventually get that. And that will not be good.\u003c/p>\n\u003cfigure id=\"attachment_13903477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375850-800x533.jpg\" alt=\"Kate Winslet smiles while holding onto her Emmy Award.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Kate Winslet, winner of the Outstanding Lead Actress in a Limited or Anthology Series for ‘Mare of Easttown,’ hits the Emmy Awards press room. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. The Emmys have an acute representation problem.\u003c/h3>\n\u003cp>[aside postid='arts_13903332']The Emmys have a representation problem just as the great majority of awards do, and probably to an even greater degree than most. This was glaringly obvious as regards on-camera talent: Not one actor of color won an award Sunday night. There were \u003cem>12 \u003c/em>actors honored: Brett Goldstein, Hannah Waddingham and Jason Sudeikis of \u003cem>Ted Lasso\u003c/em>; Kate Winslet, Julianne Nicholson and Evan Peters of \u003cem>Mare of Easttown;\u003c/em> Jean Smart of \u003cem>Hacks; \u003c/em>Ewan McGregor of \u003cem>Halston\u003c/em>; and Olivia Colman, Josh O’Connor, Tobias Menzies and Gillian Anderson of \u003cem>The Crown\u003c/em>. Behind the camera, Coel won for her writing, but the rest of the scripted programming that was honored was mostly by and about white people.\u003c/p>\n\u003cp>You could make an argument for the people who won, that they are talented and deserving. These are good shows, mostly. The issue is that in many categories, \u003cem>everyone \u003c/em>is talented and deserving, and in many more, at least multiple people are. Even if you believe \u003cem>The Crown \u003c/em>is a worthy and good show, that doesn’t mean \u003cem>Pose \u003c/em>isn’t, or \u003cem>Lovecraft Country \u003c/em>isn’t, or any of the many things that weren’t even nominated aren’t. It’s not a matter of undeserving nominees being honored, necessarily; it’s often that out of a whole world of deserving artists, the recognition over and over again leaves out artists of color, Indigenous artists, trans artists, disabled artists, and on and on. To continue to press the narrative that this is a coincidence requires more and more closing of one’s eyes to reality.\u003c/p>\n\u003cp>The entire idea that there exists a correct single deserving winner is always deeply silly, so there are other factors at work. Who gets the benefit of an Emmy campaign, who knows a lot of people, who’s well-liked, who’s been in other things that have won awards, whether voters actually watched the show at hand—and, always, what story the industry is currently telling about itself. And the story that television told about itself this year at the Emmys was discouraging, narrow, and dated, even as they honored a lot of good work. That’s the paradox of more good television making less-satisfying celebrations: The more good stuff you could choose to reward, the more striking your peculiar fixations and omissions become.\u003c/p>\n\u003ch3>3. They have to figure out the orchestra.\u003c/h3>\n\u003cp>Bless Debbie Allen, recipient of the Governor’s Award, for getting up there like the legend she is and telling the person with the clock running on her speech that they might as well turn the clock off because she wasn’t going to pay attention to it. She deserves it. She is special. She is different. She is Debbie Allen.\u003c/p>\n\u003cfigure id=\"attachment_13903485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Allen, recipient of the Governors Award, poses with her trophy. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after she spoke, Scott Frank, the director of \u003cem>The Queen’s Gambit\u003c/em>, won for that show and came up onstage and began to talk. He just kind of waxed poetic in tributes to various people and when the music came to play him off, he stated that he wasn’t going to listen. So he just talked for as long as he wanted, through multiple attempts to coax him into abiding by time constraints that were respected by people like, oh, Olivia Colman. He, to clarify, is not Debbie Allen.\u003c/p>\n\u003cp>Look, it can’t work this way. You can decide people can talk as long as they want—if they’d cut the regrettable comedy “bits” with host Cedric the Entertainer, who was great in the monologue and not so much thereafter, they’d have had more time—but if you do that, it has to apply to everybody. It can’t just be that if a person gets up there and refuses to politely do as they’ve been asked to do, they can talk as long as they want. That’s just rewarding people who are rude. (Obviously, I’m not talking about recipients of special honors, or people who are in the middle of discussing a deeply personal tragedy, or even people racing through a list of names. For that, give them a minute. But if they’re just reading the long address they wrote, they can go ahead and wrap it up when the music comes on.)\u003c/p>\n\u003ch3>4. Seriously, enough with the bits.\u003c/h3>\n\u003cp>It was a good monologue! Cedric the Entertainer is an actual working comic; it helps. But the bits. My friends, the bits were regrettable. One, in particular, involved the fly that landed on Mike Pence’s head during a debate leading up to an election that’s been over for almost a year—a fly that was pretty well used up as a meme about eight hours after it was first spotted. How that fly bit made it all the way to air, I’m not sure, but I would gladly have taken a few minutes of showbiz stories from Debbie Allen (or, heck, Scott Frank) over the fly.\u003c/p>\n\u003ch3>5. As always, some good wins helped.\u003c/h3>\n\u003cp>[aside postid='arts_13884214']To say it was exciting to see Michaela Coel honored for writing \u003cem>I May Destroy You \u003c/em>would be understating it; I startled my dog, I was so pleased. She is a great talent, and for her to go home with nothing would have been deeply disappointing. The wonderful Jean Smart gave a terrific speech when she won for \u003cem>Hacks\u003c/em>, sad and funny and wise, and that’s a lady who’s been good in a lot of things for a very long time. Hannah Waddingham gave a stirring salute to theater actors, and Olivia Colman congratulated Coel with a burst of bleeped profanity. Julianne Nicholson is one of those actors who’s been around forever being good in all kinds of things, and recognition for her was great. If you love \u003cem>Ted Lasso\u003c/em>—some do, some don’t, I do—then it was heartening to see such a strong showing for a show that was originally pitched as “a spin-off of some commercials” and didn’t sound particularly promising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not that the people who won Sunday night aren’t good at their jobs. It’s just that a lot of people are good at their jobs, and some are great at their jobs, and they got no encouragement, no congratulations, no recognition. Awards shouldn’t matter to people in theory, perhaps, precisely \u003cem>because \u003c/em>they’re meaningless, but it would be better if they weren’t meaningless. And if they’re going to be meaningless, at least bring them in on time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Takeaways+From+A+Big+Emmy+Night+For+A+Short+List+Of+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1506,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705007728,
"excerpt": "'The Crown,' 'Hacks,' 'Ted Lasso and 'The Queen's Gambit' all did well on Sunday—but the Emmys still has a diversity problem.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'The Crown,' 'Hacks,' 'Ted Lasso and 'The Queen's Gambit' all did well on Sunday—but the Emmys still has a diversity problem.",
"title": "5 Takeaways From a Big Emmy Night For a Short List of Shows | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "5 Takeaways From a Big Emmy Night For a Short List of Shows",
"datePublished": "2021-09-20T10:27:23-07:00",
"dateModified": "2024-01-11T13:15:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "5-takeaways-from-a-big-emmy-night-for-a-short-list-of-shows",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1038828620&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 20 Sep 2021 00:47:37 -0400",
"nprLastModifiedDate": "Mon, 20 Sep 2021 12:03:32 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/20/1038828620/five-takeaways-from-a-big-emmy-night-for-a-short-list-of-shows?ft=nprml&f=1038828620",
"nprImageAgency": "CBS via Getty Images",
"nprStoryId": "1038828620",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "CBS Photo Archive",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 20 Sep 2021 12:03:00 -0400",
"path": "/arts/13903474/5-takeaways-from-a-big-emmy-night-for-a-short-list-of-shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Primetime Emmy Awards on Sunday night arrived at a moment when both the medium of television and the concept of awards shows are fighting the sense that they might be … you know, old-fashioned.\u003c/p>\n\u003cp>Innovative shows are pushing narrative structures in interesting directions and tackling social issues in new ways with highly personal stories being told about characters often ignored in the past. But the awards show, despite some COVID-related tweaks, remains strictly traditional.\u003c/p>\n\u003cp>Here are five things to know about how it went.\u003c/p>\n\u003ch3>1. The wealth was not shared widely.\u003c/h3>\n\u003cp>Voters responded to the desperate need for new material that can reach new audiences by giving every drama series award they handed out Sunday night to \u003cem>The Crown\u003c/em>, the Netflix drama about the British royal family. Drama series, actor, actress, supporting actor, supporting actress, writing, directing … only one drama series was deemed worthy of recognition.\u003c/p>\n\u003cp>In fact, very few shows were recognized overall.\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>Comedy awards were divided between \u003cem>Hacks \u003c/em>and \u003cem>Ted Lasso\u003c/em>, and limited series awards—perhaps now the most prestigious ones of all—divided among \u003cem>Mare of Easttown\u003c/em>, \u003cem>The Queen’s Gambit, Halston\u003c/em>, and, fortunately, Michaela Coel’s \u003cem>I May Destroy You\u003c/em>. It’s not clear what all the factors are that are leading to this concentration of nominees and winners, but it doesn’t feel particularly auspicious. Last year, \u003cem>Schitt’s Creek \u003c/em>won all the comedy awards too, but it was that show’s last season and it had never won anything, which made it a little less stifling than what happened this year with \u003cem>The Crown \u003c/em>in particular. This looked early on like it might be a year of entirely sweeps, and at this rate we’ll eventually get that. And that will not be good.\u003c/p>\n\u003cfigure id=\"attachment_13903477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375850-800x533.jpg\" alt=\"Kate Winslet smiles while holding onto her Emmy Award.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Kate Winslet, winner of the Outstanding Lead Actress in a Limited or Anthology Series for ‘Mare of Easttown,’ hits the Emmy Awards press room. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. The Emmys have an acute representation problem.\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Emmys have a representation problem just as the great majority of awards do, and probably to an even greater degree than most. This was glaringly obvious as regards on-camera talent: Not one actor of color won an award Sunday night. There were \u003cem>12 \u003c/em>actors honored: Brett Goldstein, Hannah Waddingham and Jason Sudeikis of \u003cem>Ted Lasso\u003c/em>; Kate Winslet, Julianne Nicholson and Evan Peters of \u003cem>Mare of Easttown;\u003c/em> Jean Smart of \u003cem>Hacks; \u003c/em>Ewan McGregor of \u003cem>Halston\u003c/em>; and Olivia Colman, Josh O’Connor, Tobias Menzies and Gillian Anderson of \u003cem>The Crown\u003c/em>. Behind the camera, Coel won for her writing, but the rest of the scripted programming that was honored was mostly by and about white people.\u003c/p>\n\u003cp>You could make an argument for the people who won, that they are talented and deserving. These are good shows, mostly. The issue is that in many categories, \u003cem>everyone \u003c/em>is talented and deserving, and in many more, at least multiple people are. Even if you believe \u003cem>The Crown \u003c/em>is a worthy and good show, that doesn’t mean \u003cem>Pose \u003c/em>isn’t, or \u003cem>Lovecraft Country \u003c/em>isn’t, or any of the many things that weren’t even nominated aren’t. It’s not a matter of undeserving nominees being honored, necessarily; it’s often that out of a whole world of deserving artists, the recognition over and over again leaves out artists of color, Indigenous artists, trans artists, disabled artists, and on and on. To continue to press the narrative that this is a coincidence requires more and more closing of one’s eyes to reality.\u003c/p>\n\u003cp>The entire idea that there exists a correct single deserving winner is always deeply silly, so there are other factors at work. Who gets the benefit of an Emmy campaign, who knows a lot of people, who’s well-liked, who’s been in other things that have won awards, whether voters actually watched the show at hand—and, always, what story the industry is currently telling about itself. And the story that television told about itself this year at the Emmys was discouraging, narrow, and dated, even as they honored a lot of good work. That’s the paradox of more good television making less-satisfying celebrations: The more good stuff you could choose to reward, the more striking your peculiar fixations and omissions become.\u003c/p>\n\u003ch3>3. They have to figure out the orchestra.\u003c/h3>\n\u003cp>Bless Debbie Allen, recipient of the Governor’s Award, for getting up there like the legend she is and telling the person with the clock running on her speech that they might as well turn the clock off because she wasn’t going to pay attention to it. She deserves it. She is special. She is different. She is Debbie Allen.\u003c/p>\n\u003cfigure id=\"attachment_13903485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Allen, recipient of the Governors Award, poses with her trophy. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after she spoke, Scott Frank, the director of \u003cem>The Queen’s Gambit\u003c/em>, won for that show and came up onstage and began to talk. He just kind of waxed poetic in tributes to various people and when the music came to play him off, he stated that he wasn’t going to listen. So he just talked for as long as he wanted, through multiple attempts to coax him into abiding by time constraints that were respected by people like, oh, Olivia Colman. He, to clarify, is not Debbie Allen.\u003c/p>\n\u003cp>Look, it can’t work this way. You can decide people can talk as long as they want—if they’d cut the regrettable comedy “bits” with host Cedric the Entertainer, who was great in the monologue and not so much thereafter, they’d have had more time—but if you do that, it has to apply to everybody. It can’t just be that if a person gets up there and refuses to politely do as they’ve been asked to do, they can talk as long as they want. That’s just rewarding people who are rude. (Obviously, I’m not talking about recipients of special honors, or people who are in the middle of discussing a deeply personal tragedy, or even people racing through a list of names. For that, give them a minute. But if they’re just reading the long address they wrote, they can go ahead and wrap it up when the music comes on.)\u003c/p>\n\u003ch3>4. Seriously, enough with the bits.\u003c/h3>\n\u003cp>It was a good monologue! Cedric the Entertainer is an actual working comic; it helps. But the bits. My friends, the bits were regrettable. One, in particular, involved the fly that landed on Mike Pence’s head during a debate leading up to an election that’s been over for almost a year—a fly that was pretty well used up as a meme about eight hours after it was first spotted. How that fly bit made it all the way to air, I’m not sure, but I would gladly have taken a few minutes of showbiz stories from Debbie Allen (or, heck, Scott Frank) over the fly.\u003c/p>\n\u003ch3>5. As always, some good wins helped.\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884214",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>To say it was exciting to see Michaela Coel honored for writing \u003cem>I May Destroy You \u003c/em>would be understating it; I startled my dog, I was so pleased. She is a great talent, and for her to go home with nothing would have been deeply disappointing. The wonderful Jean Smart gave a terrific speech when she won for \u003cem>Hacks\u003c/em>, sad and funny and wise, and that’s a lady who’s been good in a lot of things for a very long time. Hannah Waddingham gave a stirring salute to theater actors, and Olivia Colman congratulated Coel with a burst of bleeped profanity. Julianne Nicholson is one of those actors who’s been around forever being good in all kinds of things, and recognition for her was great. If you love \u003cem>Ted Lasso\u003c/em>—some do, some don’t, I do—then it was heartening to see such a strong showing for a show that was originally pitched as “a spin-off of some commercials” and didn’t sound particularly promising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not that the people who won Sunday night aren’t good at their jobs. It’s just that a lot of people are good at their jobs, and some are great at their jobs, and they got no encouragement, no congratulations, no recognition. Awards shouldn’t matter to people in theory, perhaps, precisely \u003cem>because \u003c/em>they’re meaningless, but it would be better if they weren’t meaningless. And if they’re going to be meaningless, at least bring them in on time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Takeaways+From+A+Big+Emmy+Night+For+A+Short+List+Of+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903474/5-takeaways-from-a-big-emmy-night-for-a-short-list-of-shows",
"authors": [
"byline_arts_13903474"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_977",
"arts_6124"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903484",
"label": "arts_137"
},
"arts_13903332": {
"type": "posts",
"id": "arts_13903332",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903332",
"score": null,
"sort": [
1631886155000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1631886155,
"format": "standard",
"title": "Latino Americans are the Biggest Moviegoers—But the Big Screen Doesn't Reflect That",
"headTitle": "Latino Americans are the Biggest Moviegoers—But the Big Screen Doesn’t Reflect That | KQED",
"content": "\u003cp>The signs that it’s officially \u003ca href=\"https://www.npr.org/2021/09/15/1037358346/us-latino-population-demographic-figures-pew-center-hispanic-heritage-month\" target=\"_blank\" rel=\"noopener noreferrer\">Hispanic Heritage Month\u003c/a> are all around us, be it a Google Doodle or an annual film festival.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.hispanicheritagemonth.gov/about/\" target=\"_blank\" rel=\"noopener noreferrer\">national attention\u003c/a> paid to Latino and Hispanic Americans this time of year belies a persistent reality, according to a new report: those communities are still underrepresented and poorly represented in popular films.\u003c/p>\n\u003cp>[aside postid='arts_13864931']Released on the first day of Hispanic Heritage Month (which ends in mid-October) \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/new-study-finds-popular-movies-continue-marginalize-hispaniclatinos\" target=\"_blank\" rel=\"noopener noreferrer\">the report \u003c/a>from USC’s Annenberg Inclusion Initiative surveyed leading Hispanic and Latino actors and characters with speaking parts across 1,300 top-grossing films from 2007 to 2019. The report’s authors also assessed the number of Hispanic and Latino directors, casting directors and producers.\u003c/p>\n\u003cp>“As companies celebrate Hispanic Heritage Month through online posts, events, and employee resource groups,” Annenberg Inclusion Initiative founder Stacy Smith said in a statement, “the evidence is clear that concern for inclusion happens when convenient or expected and not when it comes to greenlighting films by, for, and about the Hispanic/Latino community.”\u003c/p>\n\u003cp>Hispanic and Latino people make up \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI725219\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 1 in 5\u003c/a> of the U.S. population. In the county home to Hollywood, over half of Angelenos are Hispanic and Latino.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They also go to the movies more than any other group. Hispanic and Latino Americans have the highest per-capita theater attendance among all ethnicities in the country, according to a \u003ca href=\"https://www.motionpictures.org/wp-content/uploads/2020/03/MPA-THEME-2019.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2019 report \u003c/a>from the Motion Picture Association of America.\u003c/p>\n\u003cp>Here are some of the key findings from the Annenberg report.\u003c/p>\n\u003ch3>Hispanic and Latino people are rarely cast in a lead role\u003c/h3>\n\u003cp>Just 7% of major films in 2019 featured a lead Hispanic or Latino actor. When it comes to speaking or named roles, about 6% of characters cast that year were Hispanic or Latino—not even a full percentage increase in representation when compared across the total 13 years of hit films.\u003c/p>\n\u003ch3>A Hollywood diversity push hasn’t advanced Latino and Hispanic people\u003c/h3>\n\u003cp>Actors of color have landed more high-profile roles in the years following backlash campaigns to boost diversity in Hollywood, \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/24/989635053/at-this-years-oscars-diversity-and-social-consciousness-go-hand-in-hand\" target=\"_blank\" rel=\"noopener noreferrer\">like #OscarsSoWhite\u003c/a>. Yet in 2019, \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/report-finds-popular-films-show-paltry-progress-toward-inclusion\" target=\"_blank\" rel=\"noopener noreferrer\">USC Annenberg found\u003c/a>, Hispanic and Latino actors trailed all ethnic groups when it came to on-screen time.\u003c/p>\n\u003ch3>Hispanic and Latino characters continue to perpetuate negative stereotypes\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13864820']When they are seen on screen, Hispanic and Latino characters are often typecast in roles that involve criminality, poverty or immigration, according to the USC report. More than one-third of lead Hispanic and Latino actors in 2019’s biggest movies were depicted as criminals.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hispanics+And+Latinos+Are+The+Biggest+Moviegoers.+The+Big+Screen+Doesn%27t+Reflect+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 446,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705007734,
"excerpt": "Nearly 20% of Americans are Latino or Hispanic but only 7% of lead characters in 2019's top films were Hispanic or Latino.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Nearly 20% of Americans are Latino or Hispanic but only 7% of lead characters in 2019's top films were Hispanic or Latino.",
"title": "Latino Americans are the Biggest Moviegoers—But the Big Screen Doesn't Reflect That | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Latino Americans are the Biggest Moviegoers—But the Big Screen Doesn't Reflect That",
"datePublished": "2021-09-17T06:42:35-07:00",
"dateModified": "2024-01-11T13:15:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "latino-americans-are-the-biggest-moviegoers-but-the-big-screen-doesnt-reflect-that",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1037504461&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 15 Sep 2021 19:50:00 -0400",
"nprLastModifiedDate": "Thu, 16 Sep 2021 18:17:27 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/15/1037504461/hispanic-latino-heritage-month-hollywood-movies-usc-annenberg?ft=nprml&f=1037504461",
"nprImageAgency": "AP",
"nprStoryId": "1037504461",
"nprByline": "Emma Bowman",
"sticky": false,
"nprImageCredit": "John Locher",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 16 Sep 2021 18:17:00 -0400",
"path": "/arts/13903332/latino-americans-are-the-biggest-moviegoers-but-the-big-screen-doesnt-reflect-that",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The signs that it’s officially \u003ca href=\"https://www.npr.org/2021/09/15/1037358346/us-latino-population-demographic-figures-pew-center-hispanic-heritage-month\" target=\"_blank\" rel=\"noopener noreferrer\">Hispanic Heritage Month\u003c/a> are all around us, be it a Google Doodle or an annual film festival.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.hispanicheritagemonth.gov/about/\" target=\"_blank\" rel=\"noopener noreferrer\">national attention\u003c/a> paid to Latino and Hispanic Americans this time of year belies a persistent reality, according to a new report: those communities are still underrepresented and poorly represented in popular films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13864931",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Released on the first day of Hispanic Heritage Month (which ends in mid-October) \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/new-study-finds-popular-movies-continue-marginalize-hispaniclatinos\" target=\"_blank\" rel=\"noopener noreferrer\">the report \u003c/a>from USC’s Annenberg Inclusion Initiative surveyed leading Hispanic and Latino actors and characters with speaking parts across 1,300 top-grossing films from 2007 to 2019. The report’s authors also assessed the number of Hispanic and Latino directors, casting directors and producers.\u003c/p>\n\u003cp>“As companies celebrate Hispanic Heritage Month through online posts, events, and employee resource groups,” Annenberg Inclusion Initiative founder Stacy Smith said in a statement, “the evidence is clear that concern for inclusion happens when convenient or expected and not when it comes to greenlighting films by, for, and about the Hispanic/Latino community.”\u003c/p>\n\u003cp>Hispanic and Latino people make up \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI725219\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 1 in 5\u003c/a> of the U.S. population. In the county home to Hollywood, over half of Angelenos are Hispanic and Latino.\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>They also go to the movies more than any other group. Hispanic and Latino Americans have the highest per-capita theater attendance among all ethnicities in the country, according to a \u003ca href=\"https://www.motionpictures.org/wp-content/uploads/2020/03/MPA-THEME-2019.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2019 report \u003c/a>from the Motion Picture Association of America.\u003c/p>\n\u003cp>Here are some of the key findings from the Annenberg report.\u003c/p>\n\u003ch3>Hispanic and Latino people are rarely cast in a lead role\u003c/h3>\n\u003cp>Just 7% of major films in 2019 featured a lead Hispanic or Latino actor. When it comes to speaking or named roles, about 6% of characters cast that year were Hispanic or Latino—not even a full percentage increase in representation when compared across the total 13 years of hit films.\u003c/p>\n\u003ch3>A Hollywood diversity push hasn’t advanced Latino and Hispanic people\u003c/h3>\n\u003cp>Actors of color have landed more high-profile roles in the years following backlash campaigns to boost diversity in Hollywood, \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/24/989635053/at-this-years-oscars-diversity-and-social-consciousness-go-hand-in-hand\" target=\"_blank\" rel=\"noopener noreferrer\">like #OscarsSoWhite\u003c/a>. Yet in 2019, \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/report-finds-popular-films-show-paltry-progress-toward-inclusion\" target=\"_blank\" rel=\"noopener noreferrer\">USC Annenberg found\u003c/a>, Hispanic and Latino actors trailed all ethnic groups when it came to on-screen time.\u003c/p>\n\u003ch3>Hispanic and Latino characters continue to perpetuate negative stereotypes\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13864820",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When they are seen on screen, Hispanic and Latino characters are often typecast in roles that involve criminality, poverty or immigration, according to the USC report. More than one-third of lead Hispanic and Latino actors in 2019’s biggest movies were depicted as criminals.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hispanics+And+Latinos+Are+The+Biggest+Moviegoers.+The+Big+Screen+Doesn%27t+Reflect+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903332/latino-americans-are-the-biggest-moviegoers-but-the-big-screen-doesnt-reflect-that",
"authors": [
"byline_arts_13903332"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_977",
"arts_5747"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903333",
"label": "arts_137"
},
"arts_13903303": {
"type": "posts",
"id": "arts_13903303",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903303",
"score": null,
"sort": [
1631833481000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1631833481,
"format": "standard",
"title": "CBS Backtracks on 'The Activist' After a Backlash, Including From One of its Hosts",
"headTitle": "CBS Backtracks on ‘The Activist’ After a Backlash, Including From One of its Hosts | KQED",
"content": "\u003cp>CBS thought it had a win when it announced \u003cem>The Activist\u003c/em>, a reality show where six contestants would compete in a variety of activism-themed contests before appearing at a summit of world leaders in Italy—a format that press materials called “awe-inspiring,” “ground-breaking” and sure to “inspire real change.”\u003c/p>\n\u003cp>[aside postid='arts_13901062']But in the week since the network’s announcement, backlash has come from all corners—including an apology from one of the program’s own hosts.\u003c/p>\n\u003cp>Now, the show’s producers have announced they will dramatically reformat the show, dropping the competitive elements to become a one-time documentary special rather than a five-episode series.\u003c/p>\n\u003cp>“It has become apparent the format of the show as announced distracts from the vital work these incredible activists do in their communities every day,” said CBS and its co-producers, advocacy group Global Citizen and entertainment giant Live Nation, in a joint statement emailed to NPR.\u003c/p>\n\u003cp>https://twitter.com/GlblCtzn/status/1438290442983022593\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Global activism centers on collaboration and cooperation, not competition. We apologize to the activists, hosts, and the larger activist community—we got it wrong,” wrote Global Citizen in a separate statement. The group declined to comment further.\u003c/p>\n\u003cp>[aside postid='arts_13902631']The change in format was\u003ca href=\"https://variety.com/2021/tv/news/activist-series-reconfigured-apology-cbs-global-citizen-live-nation-1235065908/\" target=\"_blank\" rel=\"noopener noreferrer\"> first reported by \u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Activist\u003c/em> originally sought to combine activism and charitable causes with reality TV, starring six contestants taking part in a variety of challenges, described as “missions, media stunts, digital campaigns and community events” in CBS’\u003ca href=\"https://www.viacomcbspressexpress.com/cbs-entertainment/shows/the-activist/releases/view?id=58195\"> original news release\u003c/a>, with success based partly on online engagement and “social metrics.” Three celebrities—Usher, Priyanka Chopra Jonas and Julianne Hough—would host.\u003c/p>\n\u003cp>Over the course of five episodes, the contestants—all of whom have histories in activism—would work toward addressing issues of global health, education and the environment. The finale was to take place at the Group of 20 summit of world leaders in Italy next month.\u003c/p>\n\u003cp>But after CBS’ announcement, the backlash came both from TV heavyweights like Jameela Jamil and from activists themselves.\u003c/p>\n\u003cp>https://twitter.com/jameelajamil/status/1436170273774923778\u003c/p>\n\u003cp>“Besides the fact that there will be millions of dollars spent on hair, makeup, travel, celebrity hosts and judges, production, distribution that could have gone to the activists and organizations that will be featured, this is deeply dangerous,” said Brittany Packnett Cunningham, an anti-police-violence activist whose organization, Campaign Zero, has helped shape police-reform efforts around the U.S., \u003ca href=\"https://www.msnbc.com/american-voices/watch/-this-is-deeply-dangerous-competition-series-on-activists-draws-criticism-from-activists-120715845645\" target=\"_blank\" rel=\"noopener noreferrer\">speaking on MSNBC\u003c/a>.\u003c/p>\n\u003cp>“This extends a societal belief about what a good activist looks like: someone who is ready for prime time, someone who fits a particular archetype and is great on social media and is perfectly marketable,” Cunningham said.\u003c/p>\n\u003cp>Clover Hogan, a 22-year-old climate activist and founder of youth advocacy organization Force of Nature, wrote on Twitter that she had been interviewed by show producers and was ultimately offered a spot on \u003cem>The Activist\u003c/em>, which she says she declined.\u003c/p>\n\u003cp>https://twitter.com/cloverhogan/status/1436606130088816643\u003c/p>\n\u003cp>“I remember thinking I was in a \u003cem>Black Mirror\u003c/em> episode. When the call ended, I cried & called my mum. The whole time, I was made to feel as if I was failing a test,”\u003ca href=\"https://twitter.com/cloverhogan/status/1436606121540820993\" target=\"_blank\" rel=\"noopener noreferrer\"> she wrote\u003c/a>.\u003c/p>\n\u003cp>On Wednesday, one of the program’s hosts, former \u003cem>Dancing With the Stars \u003c/em>performer Julianne Hough, weighed in with an apologetic post to her Instagram account.\u003c/p>\n\u003cp>https://www.instagram.com/p/CT0SRywB-5-/\u003c/p>\n\u003cp>“The last few days have been a powerful demonstration of real-time activism,” Hough wrote. “I do not claim to be an activist and wholeheartedly agree that the judging aspect of the show missed the mark and furthermore, that I am not qualified to act as a judge.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The broadcast was originally scheduled to premiere on Oct. 22. It has now been postponed to an unannounced date.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CBS+Backtracks+On+%27The+Activist%27+After+A+Backlash%2C+Including+From+One+Of+Its+Hosts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 675,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705007740,
"excerpt": "Critics said the format of the series made a mockery of activism. Now, its being turned into a one-time documentary.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Critics said the format of the series made a mockery of activism. Now, its being turned into a one-time documentary.",
"title": "CBS Backtracks on 'The Activist' After a Backlash, Including From One of its Hosts | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "CBS Backtracks on 'The Activist' After a Backlash, Including From One of its Hosts",
"datePublished": "2021-09-16T16:04:41-07:00",
"dateModified": "2024-01-11T13:15:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cbs-backtracks-on-the-activist-after-a-backlash-including-from-one-of-its-hosts",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1037960999&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Becky Sullivan",
"nprStoryDate": "Thu, 16 Sep 2021 15:39:00 -0400",
"nprLastModifiedDate": "Thu, 16 Sep 2021 17:14:32 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/09/16/1037960999/cbs-backtracks-on-the-activist-after-a-backlash-including-from-one-of-its-hosts?ft=nprml&f=1037960999",
"nprImageAgency": "Kevin Winter/Getty Images; Jeff Spicer/Getty Images; Paras Griffin/Getty Images",
"nprStoryId": "1037960999",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 16 Sep 2021 17:14:00 -0400",
"path": "/arts/13903303/cbs-backtracks-on-the-activist-after-a-backlash-including-from-one-of-its-hosts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CBS thought it had a win when it announced \u003cem>The Activist\u003c/em>, a reality show where six contestants would compete in a variety of activism-themed contests before appearing at a summit of world leaders in Italy—a format that press materials called “awe-inspiring,” “ground-breaking” and sure to “inspire real change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13901062",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But in the week since the network’s announcement, backlash has come from all corners—including an apology from one of the program’s own hosts.\u003c/p>\n\u003cp>Now, the show’s producers have announced they will dramatically reformat the show, dropping the competitive elements to become a one-time documentary special rather than a five-episode series.\u003c/p>\n\u003cp>“It has become apparent the format of the show as announced distracts from the vital work these incredible activists do in their communities every day,” said CBS and its co-producers, advocacy group Global Citizen and entertainment giant Live Nation, in a joint statement emailed to NPR.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1438290442983022593"
},
"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>“Global activism centers on collaboration and cooperation, not competition. We apologize to the activists, hosts, and the larger activist community—we got it wrong,” wrote Global Citizen in a separate statement. The group declined to comment further.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902631",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The change in format was\u003ca href=\"https://variety.com/2021/tv/news/activist-series-reconfigured-apology-cbs-global-citizen-live-nation-1235065908/\" target=\"_blank\" rel=\"noopener noreferrer\"> first reported by \u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Activist\u003c/em> originally sought to combine activism and charitable causes with reality TV, starring six contestants taking part in a variety of challenges, described as “missions, media stunts, digital campaigns and community events” in CBS’\u003ca href=\"https://www.viacomcbspressexpress.com/cbs-entertainment/shows/the-activist/releases/view?id=58195\"> original news release\u003c/a>, with success based partly on online engagement and “social metrics.” Three celebrities—Usher, Priyanka Chopra Jonas and Julianne Hough—would host.\u003c/p>\n\u003cp>Over the course of five episodes, the contestants—all of whom have histories in activism—would work toward addressing issues of global health, education and the environment. The finale was to take place at the Group of 20 summit of world leaders in Italy next month.\u003c/p>\n\u003cp>But after CBS’ announcement, the backlash came both from TV heavyweights like Jameela Jamil and from activists themselves.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1436170273774923778"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Besides the fact that there will be millions of dollars spent on hair, makeup, travel, celebrity hosts and judges, production, distribution that could have gone to the activists and organizations that will be featured, this is deeply dangerous,” said Brittany Packnett Cunningham, an anti-police-violence activist whose organization, Campaign Zero, has helped shape police-reform efforts around the U.S., \u003ca href=\"https://www.msnbc.com/american-voices/watch/-this-is-deeply-dangerous-competition-series-on-activists-draws-criticism-from-activists-120715845645\" target=\"_blank\" rel=\"noopener noreferrer\">speaking on MSNBC\u003c/a>.\u003c/p>\n\u003cp>“This extends a societal belief about what a good activist looks like: someone who is ready for prime time, someone who fits a particular archetype and is great on social media and is perfectly marketable,” Cunningham said.\u003c/p>\n\u003cp>Clover Hogan, a 22-year-old climate activist and founder of youth advocacy organization Force of Nature, wrote on Twitter that she had been interviewed by show producers and was ultimately offered a spot on \u003cem>The Activist\u003c/em>, which she says she declined.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1436606130088816643"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I remember thinking I was in a \u003cem>Black Mirror\u003c/em> episode. When the call ended, I cried & called my mum. The whole time, I was made to feel as if I was failing a test,”\u003ca href=\"https://twitter.com/cloverhogan/status/1436606121540820993\" target=\"_blank\" rel=\"noopener noreferrer\"> she wrote\u003c/a>.\u003c/p>\n\u003cp>On Wednesday, one of the program’s hosts, former \u003cem>Dancing With the Stars \u003c/em>performer Julianne Hough, weighed in with an apologetic post to her Instagram account.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CT0SRywB-5-/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The last few days have been a powerful demonstration of real-time activism,” Hough wrote. “I do not claim to be an activist and wholeheartedly agree that the judging aspect of the show missed the mark and furthermore, that I am not qualified to act as a judge.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The broadcast was originally scheduled to premiere on Oct. 22. It has now been postponed to an unannounced date.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CBS+Backtracks+On+%27The+Activist%27+After+A+Backlash%2C+Including+From+One+Of+Its+Hosts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903303/cbs-backtracks-on-the-activist-after-a-backlash-including-from-one-of-its-hosts",
"authors": [
"byline_arts_13903303"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8481",
"arts_3219"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13903304",
"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": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 1272,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2995,
"relation": "eq"
},
"items": [
"arts_13903591",
"arts_13903988",
"arts_13903966",
"arts_13903795",
"arts_13903779",
"arts_13903685",
"arts_13903607",
"arts_13903595",
"arts_13903555",
"arts_13903474",
"arts_13903332",
"arts_13903303"
],
"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_popculture": {
"isLoading": true
},
"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_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_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_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_1934": {
"type": "terms",
"id": "arts_1934",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1934",
"found": true
},
"relationships": {},
"featImg": null,
"name": "facebook",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "facebook Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1946,
"slug": "facebook",
"isLoading": false,
"link": "/arts/tag/facebook"
},
"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_2304": {
"type": "terms",
"id": "arts_2304",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2304",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Google",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Google Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2316,
"slug": "google",
"isLoading": false,
"link": "/arts/tag/google"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_2137": {
"type": "terms",
"id": "arts_2137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2137",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social media",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social media Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2149,
"slug": "social-media",
"isLoading": false,
"link": "/arts/tag/social-media"
},
"arts_1553": {
"type": "terms",
"id": "arts_1553",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1553",
"found": true
},
"relationships": {},
"featImg": null,
"name": "twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1565,
"slug": "twitter",
"isLoading": false,
"link": "/arts/tag/twitter"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_13475": {
"type": "terms",
"id": "arts_13475",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13475",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#FreeBritney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#FreeBritney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13487,
"slug": "freebritney",
"isLoading": false,
"link": "/arts/tag/freebritney"
},
"arts_10387": {
"type": "terms",
"id": "arts_10387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Britney Spears",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Britney Spears Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10399,
"slug": "britney-spears",
"isLoading": false,
"link": "/arts/tag/britney-spears"
},
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_1680": {
"type": "terms",
"id": "arts_1680",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1680",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Maya Angelou",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Maya Angelou Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1692,
"slug": "maya-angelou",
"isLoading": false,
"link": "/arts/tag/maya-angelou"
},
"arts_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_6125": {
"type": "terms",
"id": "arts_6125",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6125",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new york times",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new york times Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6137,
"slug": "new-york-times",
"isLoading": false,
"link": "/arts/tag/new-york-times"
},
"arts_8482": {
"type": "terms",
"id": "arts_8482",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8482",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ABC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ABC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8494,
"slug": "abc",
"isLoading": false,
"link": "/arts/tag/abc"
},
"arts_15659": {
"type": "terms",
"id": "arts_15659",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15659",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sitcoms",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sitcoms Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15671,
"slug": "sitcoms",
"isLoading": false,
"link": "/arts/tag/sitcoms"
},
"arts_15656": {
"type": "terms",
"id": "arts_15656",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15656",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Wonder Years",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Wonder Years Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15668,
"slug": "the-wonder-years",
"isLoading": false,
"link": "/arts/tag/the-wonder-years"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_2462": {
"type": "terms",
"id": "arts_2462",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2462",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual assault",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual assault Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2474,
"slug": "sexual-assault",
"isLoading": false,
"link": "/arts/tag/sexual-assault"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_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_12322": {
"type": "terms",
"id": "arts_12322",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "films",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12334,
"slug": "films",
"isLoading": false,
"link": "/arts/tag/films"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_4295": {
"type": "terms",
"id": "arts_4295",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4295",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cynthia Nixon",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cynthia Nixon Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4307,
"slug": "cynthia-nixon",
"isLoading": false,
"link": "/arts/tag/cynthia-nixon"
},
"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_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"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_6124": {
"type": "terms",
"id": "arts_6124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6124",
"found": true
},
"relationships": {},
"featImg": null,
"name": "olivia colman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "olivia colman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6136,
"slug": "olivia-colman",
"isLoading": false,
"link": "/arts/tag/olivia-colman"
},
"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_5747": {
"type": "terms",
"id": "arts_5747",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latinx",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latinx Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5759,
"slug": "latinx",
"isLoading": false,
"link": "/arts/tag/latinx"
},
"arts_8481": {
"type": "terms",
"id": "arts_8481",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8481",
"found": true
},
"relationships": {},
"featImg": null,
"name": "CBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "CBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8493,
"slug": "cbs",
"isLoading": false,
"link": "/arts/tag/cbs"
},
"arts_3219": {
"type": "terms",
"id": "arts_3219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Nation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Nation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3231,
"slug": "live-nation",
"isLoading": false,
"link": "/arts/tag/live-nation"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}