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_13964059": {
"type": "attachments",
"id": "arts_13964059",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13964059",
"found": true
},
"title": "GettyImages-1249311395",
"publishDate": 1726063841,
"status": "inherit",
"parent": 13964057,
"modified": 1726063925,
"caption": "Taylor Swift performs at the The Eras Tour held at Allegiant Stadium on March 24, 2023 in Las Vegas, Nevada.",
"credit": "Christopher Polk/Penske Media via Getty Images",
"altTag": "A blonde woman in a sequined one-piece stands against a yellowish-reddish backdrop",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-800x500.jpg",
"width": 800,
"height": 500,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-1020x638.jpg",
"width": 1020,
"height": 638,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-160x100.jpg",
"width": 160,
"height": 100,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-768x480.jpg",
"width": 768,
"height": 480,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-1536x960.jpg",
"width": 1536,
"height": 960,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395-1920x1200.jpg",
"width": 1920,
"height": 1200,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-1249311395.jpg",
"width": 2000,
"height": 1250
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963987": {
"type": "attachments",
"id": "arts_13963987",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963987",
"found": true
},
"title": "Kate, Princess of Wales and Prince William with their children Prince George (R), Princess Charlotte and Prince Louis (L).",
"publishDate": 1725994051,
"status": "inherit",
"parent": 13963981,
"modified": 1725994131,
"caption": "Kate, Princess of Wales and Prince William with their children Prince George (R), Princess Charlotte and Prince Louis (L).",
"credit": "Will Warr/Kensington Palace via AP",
"altTag": "Smiling 40-something white parents sit in a line outside with their three children. They all have their arms around each other.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-800x499.png",
"width": 800,
"height": 499,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-1020x636.png",
"width": 1020,
"height": 636,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-160x100.png",
"width": 160,
"height": 100,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-768x479.png",
"width": 768,
"height": 479,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-1536x957.png",
"width": 1536,
"height": 957,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-11.45.04 AM.png",
"width": 1900,
"height": 1184
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963968": {
"type": "attachments",
"id": "arts_13963968",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963968",
"found": true
},
"title": "Clockwise from left: ‘How to Die Alone,’ ‘Matlock,’ ‘Leonardo da Vinci,’ ‘Grotesquerie,’ ‘Interior Chinatown,’ ‘Somebody Somewhere.’",
"publishDate": 1725989069,
"status": "inherit",
"parent": 13963967,
"modified": 1725990919,
"caption": "Clockwise from left: ‘How to Die Alone,’ ‘Matlock,’ ‘Leonardo da Vinci,’ ‘Grotesquerie,’ ‘Interior Chinatown,’ ‘Somebody Somewhere.’",
"credit": "Ian Watson/Hulu, Brooke Palmer/CBS, PBS, Prashant Gupta/FX, Sandy Morris/HBO",
"altTag": "Six separate images of men and women.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-e1725990787545.jpeg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963949": {
"type": "attachments",
"id": "arts_13963949",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963949",
"found": true
},
"title": "James Earl Jones, pictured here in 2014, followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by stereotypical roles.",
"publishDate": 1725922022,
"status": "inherit",
"parent": 13963948,
"modified": 1725922490,
"caption": "James Earl Jones, pictured here in 2014, followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by stereotypical roles.",
"credit": "Jesse Dittmar for The Washington Post/Getty Images",
"altTag": "A portrait of a senior Black man with a white beard. He is wearing a black suit and round glasses.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-800x533.jpeg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-1020x680.jpeg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-160x107.jpeg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-768x512.jpeg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-1536x1023.jpeg",
"width": 1536,
"height": 1023,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-2048x1365.jpeg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-1920x1279.jpeg",
"width": 1920,
"height": 1279,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-463747494small_slide-068f5e2ed27fb7f0d39190432f5cf02d2da2c1cf-scaled-e1725922415864.jpeg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963846": {
"type": "attachments",
"id": "arts_13963846",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963846",
"found": true
},
"title": "Clockwise from left: ‘Wicked,’ ‘Here,’ ‘Emilia Pérez,’ ‘A Real Pain,’ ‘Piece by Piece’ and ‘Blitz.’",
"publishDate": 1725651047,
"status": "inherit",
"parent": 13963828,
"modified": 1725651108,
"caption": "Clockwise from left: ‘Wicked,’ ‘Here,’ ‘Emilia Pérez,’ ‘A Real Pain,’ ‘Piece by Piece’ and ‘Blitz.’\n",
"credit": "Universal Pictures, Sony Pictures, Shanna Besson/Pathé, Searchlight Pictures and Apple TV+",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-800x453.png",
"width": 800,
"height": 453,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-1020x578.png",
"width": 1020,
"height": 578,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-160x91.png",
"width": 160,
"height": 91,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-768x435.png",
"width": 768,
"height": 435,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-1536x870.png",
"width": 1536,
"height": 870,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies-1920x1088.png",
"width": 1920,
"height": 1088,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fall-movies.png",
"width": 2000,
"height": 1133
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963825": {
"type": "attachments",
"id": "arts_13963825",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963825",
"found": true
},
"title": "Michael Keaton, reviving ‘Beetlejuice.’",
"publishDate": 1725645256,
"status": "inherit",
"parent": 13963817,
"modified": 1725645369,
"caption": "Michael Keaton, reviving ‘Beetlejuice.’",
"credit": "Warner Bros Pictures via AP",
"altTag": "A ghoulish looking man with unkempt hair and striped suit.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-800x526.png",
"width": 800,
"height": 526,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1020x671.png",
"width": 1020,
"height": 671,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-160x105.png",
"width": 160,
"height": 105,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-768x505.png",
"width": 768,
"height": 505,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1536x1011.png",
"width": 1536,
"height": 1011,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1920x1263.png",
"width": 1920,
"height": 1263,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton.png",
"width": 2000,
"height": 1316
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963776": {
"type": "attachments",
"id": "arts_13963776",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963776",
"found": true
},
"title": "In Season 4 of ‘Only Murders in the Building,’ Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) are whisked away to Los Angeles, where a film studio intends to adapt their podcast.",
"publishDate": 1725575619,
"status": "inherit",
"parent": 13963775,
"modified": 1725576687,
"caption": "In Season 4 of ‘Only Murders in the Building,’ Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) are whisked away to Los Angeles, where a film studio intends to adapt their podcast.",
"credit": " Eric McCandless/Disney",
"altTag": "A 30-somthing glamorous woman stands betwen two older smartly dressed men.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1020x573.jpeg",
"width": 1020,
"height": 573,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1536x863.jpeg",
"width": 1536,
"height": 863,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-2048x1151.jpeg",
"width": 2048,
"height": 1151,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1920x1079.jpeg",
"width": 1920,
"height": 1079,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-scaled-e1725576696587.jpeg",
"width": 1920,
"height": 1079
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963721": {
"type": "attachments",
"id": "arts_13963721",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963721",
"found": true
},
"title": "download",
"publishDate": 1725563974,
"status": "inherit",
"parent": 13963687,
"modified": 1725646072,
"caption": "Ashly Smith (left) and Maddy Meckel pose back-to-back, showcasing their custom tattoos featuring the moon and Saturn alongside their birth month flowers, a nod to Taylor Swift's song 'Seven,' before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024.",
"credit": "Madelaine Church for KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1.jpg",
"width": 1200,
"height": 800
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963664": {
"type": "attachments",
"id": "arts_13963664",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963664",
"found": true
},
"title": "A new season is upon us — and it's bringing books.",
"publishDate": 1725478323,
"status": "inherit",
"parent": 13963659,
"modified": 1725478467,
"caption": "A new season is upon us — and it's bringing books.",
"credit": "iStock/Yul38885",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-2048x1365.jpg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/iStock-1174082199.jpg",
"width": 2121,
"height": 1414
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963471": {
"type": "attachments",
"id": "arts_13963471",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963471",
"found": true
},
"title": "August 2024",
"publishDate": 1725004351,
"status": "inherit",
"parent": 13959726,
"modified": 1725004425,
"caption": null,
"credit": "Courtesy of the GLBT Historical Society",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/August-2024.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963655": {
"type": "attachments",
"id": "arts_13963655",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963655",
"found": true
},
"title": "Don Johnson as Chief Sandy Burnne and Aaron Pierre as Terry Richmond in ‘Rebel Ridge.’",
"publishDate": 1725474252,
"status": "inherit",
"parent": 13963648,
"modified": 1725474336,
"caption": "Don Johnson as Chief Sandy Burnne and Aaron Pierre as Terry Richmond in ‘Rebel Ridge.’ ",
"credit": "Allyson Riggs/Netflix via AP",
"altTag": "A older white man with one hand on his gun holster faces off with a younger Black man whose hands are folded in front of him. They are standing in a rural area.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-800x489.png",
"width": 800,
"height": 489,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1020x624.png",
"width": 1020,
"height": 624,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-160x98.png",
"width": 160,
"height": 98,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-768x470.png",
"width": 768,
"height": 470,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1536x939.png",
"width": 1536,
"height": 939,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1920x1174.png",
"width": 1920,
"height": 1174,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge.png",
"width": 2000,
"height": 1223
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963550": {
"type": "attachments",
"id": "arts_13963550",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963550",
"found": true
},
"title": "Baby_Reindeer_n_S1_E2_00_02_51_16",
"publishDate": 1725389738,
"status": "inherit",
"parent": 13963546,
"modified": 1725389795,
"caption": "Nava Mau as Teri in 'Baby Reindeer.'",
"credit": "Courtesy of Netflix ",
"altTag": "A still from the show 'Baby Reindeer' where actress Nava Mau is seated at a dimly lit cocktail bar.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_02_51_16.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13964057": {
"type": "authors",
"id": "byline_arts_13964057",
"meta": {
"override": true
},
"slug": "byline_arts_13964057",
"name": "Chris Megerian, Associated Press",
"isLoading": false
},
"byline_arts_13963981": {
"type": "authors",
"id": "byline_arts_13963981",
"meta": {
"override": true
},
"slug": "byline_arts_13963981",
"name": "Danica Kirka, Associated Press",
"isLoading": false
},
"byline_arts_13963967": {
"type": "authors",
"id": "byline_arts_13963967",
"meta": {
"override": true
},
"slug": "byline_arts_13963967",
"name": "Eric Deggans, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"isLoading": false
},
"byline_arts_13963948": {
"type": "authors",
"id": "byline_arts_13963948",
"meta": {
"override": true
},
"slug": "byline_arts_13963948",
"name": "Allison Keyes, NPR",
"isLoading": false
},
"byline_arts_13963828": {
"type": "authors",
"id": "byline_arts_13963828",
"meta": {
"override": true
},
"slug": "byline_arts_13963828",
"name": "Aisha Harris",
"isLoading": false
},
"byline_arts_13963817": {
"type": "authors",
"id": "byline_arts_13963817",
"meta": {
"override": true
},
"slug": "byline_arts_13963817",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13963775": {
"type": "authors",
"id": "byline_arts_13963775",
"meta": {
"override": true
},
"slug": "byline_arts_13963775",
"name": "David Bianculli, NPR",
"isLoading": false
},
"byline_arts_13963659": {
"type": "authors",
"id": "byline_arts_13963659",
"meta": {
"override": true
},
"slug": "byline_arts_13963659",
"name": "Andrew Limbong",
"isLoading": false
},
"byline_arts_13963648": {
"type": "authors",
"id": "byline_arts_13963648",
"meta": {
"override": true
},
"slug": "byline_arts_13963648",
"name": "Mark Kennedy, Associated Press",
"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"
},
"nkhan": {
"type": "authors",
"id": "11867",
"meta": {
"index": "authors_1716337520",
"id": "11867",
"found": true
},
"name": "Nisa Khan",
"firstName": "Nisa",
"lastName": "Khan",
"slug": "nkhan",
"email": "nkhan@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Nisa Khan is a reporter for KQED's Audience News Desk. She was formerly a data reporter at Michigan Radio. She earned a Bachelor of Science in Information from the University of Michigan and a Master of Arts in Communication from Stanford University.",
"avatar": "https://secure.gravatar.com/avatar/8720459eef081ff64582b3506b124d58523e80e120704a0cbd9892533c914991?s=600&d=blank&r=g",
"twitter": "mnisakhan",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor",
"author"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nisa Khan | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/8720459eef081ff64582b3506b124d58523e80e120704a0cbd9892533c914991?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/8720459eef081ff64582b3506b124d58523e80e120704a0cbd9892533c914991?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nkhan"
},
"vesposito": {
"type": "authors",
"id": "11934",
"meta": {
"index": "authors_1716337520",
"id": "11934",
"found": true
},
"name": "Veronica Esposito",
"firstName": "Veronica",
"lastName": "Esposito",
"slug": "vesposito",
"email": "ladoppiavitadinica@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Veronica Esposito is a Licensed Marriage and Family Therapist, as well as a freelance journalist covering the arts, lifestyle, and social justice for venues including The Guardian, KQED, World Literature Today, and many others. Her writing has appeared in dozens of venues, and she has published four books. As a therapist, she specializes in supporting and advocating for trans individuals, and more generally helps clients process and overcome traumatic histories, manage life transitions, and tell their own story.",
"avatar": "https://secure.gravatar.com/avatar/503a7126ebd8cb299fb632f755dac767?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Veronica Esposito | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/503a7126ebd8cb299fb632f755dac767?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/503a7126ebd8cb299fb632f755dac767?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/vesposito"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.40822
},
"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": 52
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 52
}
},
{
"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_13964057": {
"type": "posts",
"id": "arts_13964057",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13964057",
"score": null,
"sort": [
1726064030000
]
},
"guestAuthors": [],
"slug": "taylor-swift-endorses-kamala-harris-for-president-after-debate",
"title": "Taylor Swift Endorses Kamala Harris for President After Debate",
"publishDate": 1726064030,
"format": "standard",
"headTitle": "Taylor Swift Endorses Kamala Harris for President After Debate | KQED",
"labelTerm": {
"term": 22318,
"site": "arts"
},
"content": "\u003cp>Taylor Swift, one of the music industry’s biggest stars, endorsed Kamala Harris for president shortly after the presidential debate ended.\u003c/p>\n\u003cp>“I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos,” Swift \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">wrote late Tuesday in an Instagram post\u003c/a>, which included a link to a voter registration website.\u003c/p>\n\u003cp>Swift also praised Harris’ running mate Tim Walz, writing that he “has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”\u003c/p>\n\u003cp>[aside postID='arts_13963687']Swift has a dedicated following among young women, a key demographic in the November election, and her latest tour has generated more than $1 billion in ticket sales. In a half hour, the post received more than 2.3 million likes.\u003c/p>\n\u003cp>She included a picture of herself holding her cat Benjamin Button, and she signed the message “Childless Cat Lady.” The remark is a reference to three-year-old comments made by JD Vance, Donald Trump’s running mate, about women without children not having an equal stake in the country’s future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Harris senior campaign official said the endorsement was not coordinated with the campaign. Tim Walz, Harris’ running mate, appeared to learn about the endorsement in the middle of a live interview on MSNBC. As Rachel Maddow read the text, Walz broke into a smile and patted his chest.\u003c/p>\n\u003cp>“That was eloquent. And it was clear,” Walz said. “And that’s the kind of courage we need in America to stand up.”\u003c/p>\n\u003cfigure id=\"attachment_13951850\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg\" alt=\"Taylor Swift is photographed leaning forward in a crowd, wearing a red football jersey and looking puzzled.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13951850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift and Donna Kelce look on before the game between the Kansas City Chiefs and the Denver Broncos at GEHA Field at Arrowhead Stadium on Oct. 12, 2023, in Kansas City, Missouri. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift wrote that her endorsement was partially prompted by Trump’s decision to post artificial intelligence-generated pictures suggesting that she had endorsed him. One showed Swift dressed as Uncle Sam, and the text said “Taylor wants YOU to VOTE for DONALD TRUMP.”\u003c/p>\n\u003cp>Trump’s posts “brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter,” Swift wrote. She added that “I’ve done my research, and I’ve made my choice.”\u003c/p>\n\u003cp>Trump said Wednesday that Swift’s move “was just a question of time.” He told \u003cem>Fox & Friends\u003c/em> that Swift is “a very liberal person” who “seems to always endorse a Democrat and she’ll probably pay a price in the marketplace.”\u003c/p>\n\u003cp>In 2020, she supported Democrat Joe Biden, and she cheered for Harris in her debate against then-Vice President Mike Pence. She also was openly critical of Trump, saying he had stoked “the fires of white supremacy and racism.”\u003c/p>\n\u003cp>[aside postID='news_11999092']Swift is a popular figure nationwide, but especially among Democrats. An October 2023 Fox News poll found that 55% of voters overall, including 68% of Democrats, said they had a favorable view of Swift. Republicans were divided, with 43% having a favorable opinion and 45% an unfavorable one.\u003c/p>\n\u003cp>AP VoteCast suggests that a partisan divide on Swift was apparent as early as 2018. That’s the year Swift made her first political endorsement, supporting Tennessee Democrat Phil Bredesen for Senate over Republican Marsha Blackburn.\u003c/p>\n\u003cp>VoteCast found that among Tennessee voters that year, 55% of Democrats and just 19% of Republicans said they had a favorable opinion of Swift. Blackburn won by a comfortable margin in the deep red state.\u003c/p>\n\u003cp>Swift is the leading nominee at Wednesday’s MTV Video Music Awards. While it’s unclear whether Swift will attend the show in New York, she could use any acceptance speeches to elaborate on her support of Harris.\u003c/p>\n\u003cp>The event was shifted a day later to accommodate Tuesday’s debate. MTV has a long history of encouraging voter participation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Jill Colvin in Philadelphia, Linley Sanders in Washington and Anthony McCartney in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Calling Harris a 'warrior' and a 'gifted leader,' Swift denounced Trump's lie that she had endorsed him.",
"status": "publish",
"parent": 0,
"modified": 1726791472,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 713
},
"headData": {
"title": "Taylor Swift Endorses Kamala Harris for President After Debate | KQED",
"description": "Calling Harris a 'warrior' and a 'gifted leader,' Swift denounced Trump's lie that she had endorsed him.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Taylor Swift Endorses Kamala Harris for President After Debate",
"datePublished": "2024-09-11T07:13:50-07:00",
"dateModified": "2024-09-19T17:17:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Chris Megerian, Associated Press",
"nprStoryId": "kqed-13964057",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift, one of the music industry’s biggest stars, endorsed Kamala Harris for president shortly after the presidential debate ended.\u003c/p>\n\u003cp>“I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos,” Swift \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">wrote late Tuesday in an Instagram post\u003c/a>, which included a link to a voter registration website.\u003c/p>\n\u003cp>Swift also praised Harris’ running mate Tim Walz, writing that he “has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963687",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Swift has a dedicated following among young women, a key demographic in the November election, and her latest tour has generated more than $1 billion in ticket sales. In a half hour, the post received more than 2.3 million likes.\u003c/p>\n\u003cp>She included a picture of herself holding her cat Benjamin Button, and she signed the message “Childless Cat Lady.” The remark is a reference to three-year-old comments made by JD Vance, Donald Trump’s running mate, about women without children not having an equal stake in the country’s future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Harris senior campaign official said the endorsement was not coordinated with the campaign. Tim Walz, Harris’ running mate, appeared to learn about the endorsement in the middle of a live interview on MSNBC. As Rachel Maddow read the text, Walz broke into a smile and patted his chest.\u003c/p>\n\u003cp>“That was eloquent. And it was clear,” Walz said. “And that’s the kind of courage we need in America to stand up.”\u003c/p>\n\u003cfigure id=\"attachment_13951850\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg\" alt=\"Taylor Swift is photographed leaning forward in a crowd, wearing a red football jersey and looking puzzled.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13951850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift and Donna Kelce look on before the game between the Kansas City Chiefs and the Denver Broncos at GEHA Field at Arrowhead Stadium on Oct. 12, 2023, in Kansas City, Missouri. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift wrote that her endorsement was partially prompted by Trump’s decision to post artificial intelligence-generated pictures suggesting that she had endorsed him. One showed Swift dressed as Uncle Sam, and the text said “Taylor wants YOU to VOTE for DONALD TRUMP.”\u003c/p>\n\u003cp>Trump’s posts “brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter,” Swift wrote. She added that “I’ve done my research, and I’ve made my choice.”\u003c/p>\n\u003cp>Trump said Wednesday that Swift’s move “was just a question of time.” He told \u003cem>Fox & Friends\u003c/em> that Swift is “a very liberal person” who “seems to always endorse a Democrat and she’ll probably pay a price in the marketplace.”\u003c/p>\n\u003cp>In 2020, she supported Democrat Joe Biden, and she cheered for Harris in her debate against then-Vice President Mike Pence. She also was openly critical of Trump, saying he had stoked “the fires of white supremacy and racism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11999092",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Swift is a popular figure nationwide, but especially among Democrats. An October 2023 Fox News poll found that 55% of voters overall, including 68% of Democrats, said they had a favorable view of Swift. Republicans were divided, with 43% having a favorable opinion and 45% an unfavorable one.\u003c/p>\n\u003cp>AP VoteCast suggests that a partisan divide on Swift was apparent as early as 2018. That’s the year Swift made her first political endorsement, supporting Tennessee Democrat Phil Bredesen for Senate over Republican Marsha Blackburn.\u003c/p>\n\u003cp>VoteCast found that among Tennessee voters that year, 55% of Democrats and just 19% of Republicans said they had a favorable opinion of Swift. Blackburn won by a comfortable margin in the deep red state.\u003c/p>\n\u003cp>Swift is the leading nominee at Wednesday’s MTV Video Music Awards. While it’s unclear whether Swift will attend the show in New York, she could use any acceptance speeches to elaborate on her support of Harris.\u003c/p>\n\u003cp>The event was shifted a day later to accommodate Tuesday’s debate. MTV has a long history of encouraging voter participation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Jill Colvin in Philadelphia, Linley Sanders in Washington and Anthony McCartney in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate",
"authors": [
"byline_arts_13964057"
],
"series": [
"arts_22318"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_4949",
"arts_22277",
"arts_22227",
"arts_3026"
],
"featImg": "arts_13964059",
"label": "arts_22318"
},
"arts_13963981": {
"type": "posts",
"id": "arts_13963981",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963981",
"score": null,
"sort": [
1725996161000
]
},
"guestAuthors": [],
"slug": "princess-kates-new-video-end-of-chemo-william-kiss-royal-pr",
"title": "Kate’s Soft-Focus Insta-Ready Video Marks a Shift in How Royals Tell Their Story",
"publishDate": 1725996161,
"format": "standard",
"headTitle": "Kate’s Soft-Focus Insta-Ready Video Marks a Shift in How Royals Tell Their Story | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Public displays of affection on a royal video? My, how times have changed!\u003c/p>\n\u003cp>When the Princess of Wales announced that she had completed chemotherapy treatment in \u003ca href=\"https://www.youtube.com/watch?v=yKNa97QcyKo\">a soft-focus, Insta-ready video\u003c/a>, she ventured into realms not previously inhabited by Britain’s royal family, traditionally known for the stiff-upper-lip, “never complain, never explain” ethos of the late Queen Elizabeth II.\u003c/p>\n\u003cp>[aside postid='arts_13953998']Here was the most popular royal, a public figure usually known simply as Kate, using the tools of social media to share the fact that for all her wealth and privilege, her life had been upended by cancer, just like millions of other people.\u003c/p>\n\u003cp>But it wasn’t just what she said, it was how she said it. Unlike earlier updates on Kate’s health, which sounded like factual news reports, this had an entirely different tone. The slickly produced mini-movie released on Monday showed the princess hugging Prince William and their three young children and sharing intimate moments at home with her parents.\u003c/p>\n\u003cp>There’s even a chaste kiss on her cheek.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It is a real break,’’ said George Gross, a royal historian at King’s College London. “But I think people will look at it and won’t necessarily realize that. I think they will think: This is just right, this is normal. That’s what a family does.”\u003c/p>\n\u003ch2>A tradition of secrecy\u003c/h2>\n\u003cp>Kate’s video marks the royal family’s latest experiment with greater openness since King Charles III assumed the throne in 2022. That has been tested repeatedly this year as both Charles and Kate were treated for serious health problems, then later announced they were undergoing cancer treatment.\u003c/p>\n\u003cp>For centuries, Britain’s royal family withheld news of illness for fear it might weaken their authority. That reticence and secrecy lingered even after they became constitutional figureheads.\u003c/p>\n\u003cp>[aside postid='arts_13939414']The British public wasn’t told that King George VI, Charles’ grandfather, had lung cancer before his death at the age of 56 in February 1952. The public death announcement said only that the king had “passed peacefully away in his sleep.”\u003c/p>\n\u003cp>King George V died in 1936, after suffering from heart and lung disease. Far from being open about the king’s health, palace officials manipulated the timing of his death to gain more favorable coverage. Diary extracts published 50 years later revealed that the king’s physician injected the terminally ill monarch with morphine and cocaine to speed his death — partly so it could be announced in the morning newspapers “rather than the less appropriate evening journals.”\u003c/p>\n\u003cp>Charles has made a point of being more open than his mother, Elizabeth, whom Buckingham Palace described as suffering from “mobility issues” in the months before her death.\u003c/p>\n\u003cp>In January, the palace said Charles would enter a London hospital for treatment for an enlarged prostate. A few weeks later, the king said he would step away from public duties while he received treatment for an undisclosed type of cancer. Those announcements, however, were made in factual releases issued by the palace press office.\u003c/p>\n\u003ch2>A new generation of royals\u003c/h2>\n\u003cp>But Kate and William, both 42, are of a new generation that is more comfortable sharing personal issues on social media.\u003c/p>\n\u003cp>[aside postid='arts_13919284']Kate’s video was shot by William Warr, creative director of Detail Films, which says it combines film production techniques and strategic marketing to create “beautiful branded films.”\u003c/p>\n\u003cp>“We exist to help brands tell stories that speak to their audience,” the firm says on its website.\u003c/p>\n\u003cp>In the video, Kate described how difficult the past nine months had been for her family and expressed “relief” at completing her course of treatment.\u003c/p>\n\u003cp>“Life as you know it can change in an instant, and we have had to find a way to navigate the stormy waters and road unknown,’’ she said in the video, which was shot in a woodland near the family’s summer home in Norfolk.\u003c/p>\n\u003cp>Some see the film as a reflection of a family bonded in a crisis, as many do when facing illness — sharing their thoughts with others.\u003c/p>\n\u003cp>“It is a love story,″ former BBC royal correspondent Michael Cole told TalkTV. “You’re seeing it there. You’re seeing what it means to a family.’’\u003c/p>\n\u003cp>[aside postid='arts_13866072']Mark Borkowski, a public relations and crisis consultant, described the film as “a tectonic shift in how the royal family controls its image.’’\u003c/p>\n\u003cp>“Kate’s journey is profound and deeply personal, but they’ve learned that emotion can be controlled — and weaponized — in small, potent doses,’’ he said. “By doing this through a polished film, they maintain dignity and control while still appearing relatable.”\u003c/p>\n\u003ch2>It’s the age of social media\u003c/h2>\n\u003cp>The fact that the royal family needed new techniques for controlling its story in the age of TikTok and Instagram was underscored after palace officials announced in January that Kate would be hospitalized for abdominal surgery. While the palace released few details about her condition, \u003ca href=\"https://www.kqed.org/arts/13953998/kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster\">social media sites were filled with speculation\u003c/a> about what was really going on as Kate retreated from public view to focus on her recovery.\u003c/p>\n\u003cp>When the princess announced that she had cancer two months later, she spoke directly to the public in a somber video in which she asked for “time, space and privacy” while she underwent treatment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JoWTuctHyyc\u003c/p>\n\u003cp>In June, Kate released a video update, saying she had good days and bad days.\u003c/p>\n\u003cp>While the princess stepped away from most public duties during her treatment, Kate has made two appearances this year. First, during the king’s birthday parade in June, known as Trooping the Colour, and most recently during the men’s final at Wimbledon in July, where she received a standing ovation.\u003c/p>\n\u003cp>Now that she has completed chemotherapy, Kate plans to slowly return to public duties, “undertaking a few more public appearances” in the coming months.\u003c/p>\n\u003cp>[aside postid='arts_13872986']But Kate said in her video that the path to full recovery would be long and she would “take each day as it comes.”\u003c/p>\n\u003cp>“William and I are so grateful for the support we have received and have drawn great strength from all those who are helping us at this time,” she said. “Everyone’s kindness, empathy and compassion has been truly humbling.”\u003c/p>\n\u003cp>The video should be seen as part of the king’s effort to increase the openness of the royal family as he seeks to build support for the monarchy, Gross said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s an operation. It’s the whole firm together,’’ he said. “And, I think, it really matches that sense of we’re being as open as we can, whilst retaining a natural sense of privacy that you need over these things.’’\u003c/p>\n\n",
"blocks": [],
"excerpt": "When she disappeared from public view earlier in 2024, rumors circulated that Kate was dead. Clearly, lessons were learned.",
"status": "publish",
"parent": 0,
"modified": 1726700651,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 32,
"wordCount": 1209
},
"headData": {
"title": "William and Kate Have Learned from Their Last PR Disaster",
"description": "When she disappeared from public view earlier in 2024, rumors circulated that Kate was dead. Clearly, lessons were learned.",
"ogTitle": "Kate’s Soft-Focus Insta-Ready Video Marks a Shift in How Royals Tell Their Story",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Kate’s Soft-Focus Insta-Ready Video Marks a Shift in How Royals Tell Their Story",
"twDescription": "",
"twImgId": "",
"socialTitle": "William and Kate Have Learned from Their Last PR Disaster",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kate’s Soft-Focus Insta-Ready Video Marks a Shift in How Royals Tell Their Story",
"datePublished": "2024-09-10T12:22:41-07:00",
"dateModified": "2024-09-18T16:04:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Danica Kirka, Associated Press",
"nprStoryId": "kqed-13963981",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963981/princess-kates-new-video-end-of-chemo-william-kiss-royal-pr",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Public displays of affection on a royal video? My, how times have changed!\u003c/p>\n\u003cp>When the Princess of Wales announced that she had completed chemotherapy treatment in \u003ca href=\"https://www.youtube.com/watch?v=yKNa97QcyKo\">a soft-focus, Insta-ready video\u003c/a>, she ventured into realms not previously inhabited by Britain’s royal family, traditionally known for the stiff-upper-lip, “never complain, never explain” ethos of the late Queen Elizabeth II.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953998",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Here was the most popular royal, a public figure usually known simply as Kate, using the tools of social media to share the fact that for all her wealth and privilege, her life had been upended by cancer, just like millions of other people.\u003c/p>\n\u003cp>But it wasn’t just what she said, it was how she said it. Unlike earlier updates on Kate’s health, which sounded like factual news reports, this had an entirely different tone. The slickly produced mini-movie released on Monday showed the princess hugging Prince William and their three young children and sharing intimate moments at home with her parents.\u003c/p>\n\u003cp>There’s even a chaste kiss on her cheek.\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 is a real break,’’ said George Gross, a royal historian at King’s College London. “But I think people will look at it and won’t necessarily realize that. I think they will think: This is just right, this is normal. That’s what a family does.”\u003c/p>\n\u003ch2>A tradition of secrecy\u003c/h2>\n\u003cp>Kate’s video marks the royal family’s latest experiment with greater openness since King Charles III assumed the throne in 2022. That has been tested repeatedly this year as both Charles and Kate were treated for serious health problems, then later announced they were undergoing cancer treatment.\u003c/p>\n\u003cp>For centuries, Britain’s royal family withheld news of illness for fear it might weaken their authority. That reticence and secrecy lingered even after they became constitutional figureheads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13939414",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The British public wasn’t told that King George VI, Charles’ grandfather, had lung cancer before his death at the age of 56 in February 1952. The public death announcement said only that the king had “passed peacefully away in his sleep.”\u003c/p>\n\u003cp>King George V died in 1936, after suffering from heart and lung disease. Far from being open about the king’s health, palace officials manipulated the timing of his death to gain more favorable coverage. Diary extracts published 50 years later revealed that the king’s physician injected the terminally ill monarch with morphine and cocaine to speed his death — partly so it could be announced in the morning newspapers “rather than the less appropriate evening journals.”\u003c/p>\n\u003cp>Charles has made a point of being more open than his mother, Elizabeth, whom Buckingham Palace described as suffering from “mobility issues” in the months before her death.\u003c/p>\n\u003cp>In January, the palace said Charles would enter a London hospital for treatment for an enlarged prostate. A few weeks later, the king said he would step away from public duties while he received treatment for an undisclosed type of cancer. Those announcements, however, were made in factual releases issued by the palace press office.\u003c/p>\n\u003ch2>A new generation of royals\u003c/h2>\n\u003cp>But Kate and William, both 42, are of a new generation that is more comfortable sharing personal issues on social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13919284",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Kate’s video was shot by William Warr, creative director of Detail Films, which says it combines film production techniques and strategic marketing to create “beautiful branded films.”\u003c/p>\n\u003cp>“We exist to help brands tell stories that speak to their audience,” the firm says on its website.\u003c/p>\n\u003cp>In the video, Kate described how difficult the past nine months had been for her family and expressed “relief” at completing her course of treatment.\u003c/p>\n\u003cp>“Life as you know it can change in an instant, and we have had to find a way to navigate the stormy waters and road unknown,’’ she said in the video, which was shot in a woodland near the family’s summer home in Norfolk.\u003c/p>\n\u003cp>Some see the film as a reflection of a family bonded in a crisis, as many do when facing illness — sharing their thoughts with others.\u003c/p>\n\u003cp>“It is a love story,″ former BBC royal correspondent Michael Cole told TalkTV. “You’re seeing it there. You’re seeing what it means to a family.’’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866072",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Mark Borkowski, a public relations and crisis consultant, described the film as “a tectonic shift in how the royal family controls its image.’’\u003c/p>\n\u003cp>“Kate’s journey is profound and deeply personal, but they’ve learned that emotion can be controlled — and weaponized — in small, potent doses,’’ he said. “By doing this through a polished film, they maintain dignity and control while still appearing relatable.”\u003c/p>\n\u003ch2>It’s the age of social media\u003c/h2>\n\u003cp>The fact that the royal family needed new techniques for controlling its story in the age of TikTok and Instagram was underscored after palace officials announced in January that Kate would be hospitalized for abdominal surgery. While the palace released few details about her condition, \u003ca href=\"https://www.kqed.org/arts/13953998/kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster\">social media sites were filled with speculation\u003c/a> about what was really going on as Kate retreated from public view to focus on her recovery.\u003c/p>\n\u003cp>When the princess announced that she had cancer two months later, she spoke directly to the public in a somber video in which she asked for “time, space and privacy” while she underwent treatment.\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/JoWTuctHyyc'\n title='//www.youtube.com/embed/JoWTuctHyyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In June, Kate released a video update, saying she had good days and bad days.\u003c/p>\n\u003cp>While the princess stepped away from most public duties during her treatment, Kate has made two appearances this year. First, during the king’s birthday parade in June, known as Trooping the Colour, and most recently during the men’s final at Wimbledon in July, where she received a standing ovation.\u003c/p>\n\u003cp>Now that she has completed chemotherapy, Kate plans to slowly return to public duties, “undertaking a few more public appearances” in the coming months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13872986",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But Kate said in her video that the path to full recovery would be long and she would “take each day as it comes.”\u003c/p>\n\u003cp>“William and I are so grateful for the support we have received and have drawn great strength from all those who are helping us at this time,” she said. “Everyone’s kindness, empathy and compassion has been truly humbling.”\u003c/p>\n\u003cp>The video should be seen as part of the king’s effort to increase the openness of the royal family as he seeks to build support for the monarchy, Gross said.\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 an operation. It’s the whole firm together,’’ he said. “And, I think, it really matches that sense of we’re being as open as we can, whilst retaining a natural sense of privacy that you need over these things.’’\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963981/princess-kates-new-video-end-of-chemo-william-kiss-royal-pr",
"authors": [
"byline_arts_13963981"
],
"categories": [
"arts_1",
"arts_2303",
"arts_75"
],
"tags": [
"arts_8126",
"arts_18212",
"arts_2137",
"arts_18570",
"arts_5292"
],
"featImg": "arts_13963987",
"label": "arts"
},
"arts_13963967": {
"type": "posts",
"id": "arts_13963967",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963967",
"score": null,
"sort": [
1725991263000
]
},
"guestAuthors": [],
"slug": "best-new-tv-shows-streaming-fall-2024-npr-critics-picks",
"title": "The 16 Best TV Shows to Watch in Fall 2024",
"publishDate": 1725991263,
"format": "standard",
"headTitle": "The 16 Best TV Shows to Watch in Fall 2024 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xo27sE2fdvs\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNmLHum-bdE\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pLjpuT-qjw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1CPxZL3kJ70\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-StZwoYw2fg\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=daV1NI7hxY0\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_SKPESJWeI\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5uZBSQ2R_M\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEA2eF_G59U\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J1BihonDew8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MC8cKtqusp4\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJS-mpU1FDA\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "NPR critics have scoured the streaming and broadcast horizons to find the best new fall TV. ",
"status": "publish",
"parent": 0,
"modified": 1725991263,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1665
},
"headData": {
"title": "The Best TV Shows to Stream in Fall 2024 | KQED",
"description": "NPR critics have scoured the streaming and broadcast horizons to find the best new fall TV. ",
"ogTitle": "The 16 Best TV Shows to Watch in Fall 2024",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The 16 Best TV Shows to Watch in Fall 2024",
"twDescription": "",
"twImgId": "",
"socialTitle": "The Best TV Shows to Stream in Fall 2024 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 16 Best TV Shows to Watch in Fall 2024",
"datePublished": "2024-09-10T11:01:03-07:00",
"dateModified": "2024-09-10T11:01:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "best-new-tv-shows-fall-2024-npr-critics-picks",
"nprByline": "Eric Deggans, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"nprStoryId": "nx-s1-5075302",
"nprHtmlLink": "https://www.npr.org/2024/09/09/nx-s1-5075302/what-to-watch-netflix-hbo-hulu-apple-tv",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-10T07:00:00-04:00",
"nprStoryDate": "2024-09-10T07:00:00-04:00",
"nprLastModifiedDate": "2024-09-10T09:30:51.198-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963967/best-new-tv-shows-streaming-fall-2024-npr-critics-picks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\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/xo27sE2fdvs'\n title='//www.youtube.com/embed/xo27sE2fdvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GNmLHum-bdE'\n title='//www.youtube.com/embed/GNmLHum-bdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/-pLjpuT-qjw'\n title='//www.youtube.com/embed/-pLjpuT-qjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1CPxZL3kJ70'\n title='//www.youtube.com/embed/1CPxZL3kJ70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R9pXbNz6Vbw'\n title='//www.youtube.com/embed/R9pXbNz6Vbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-StZwoYw2fg'\n title='//www.youtube.com/embed/-StZwoYw2fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/daV1NI7hxY0'\n title='//www.youtube.com/embed/daV1NI7hxY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_SKPESJWeI'\n title='//www.youtube.com/embed/d_SKPESJWeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/N5uZBSQ2R_M'\n title='//www.youtube.com/embed/N5uZBSQ2R_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fEA2eF_G59U'\n title='//www.youtube.com/embed/fEA2eF_G59U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J1BihonDew8'\n title='//www.youtube.com/embed/J1BihonDew8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MC8cKtqusp4'\n title='//www.youtube.com/embed/MC8cKtqusp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aJS-mpU1FDA'\n title='//www.youtube.com/embed/aJS-mpU1FDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963967/best-new-tv-shows-streaming-fall-2024-npr-critics-picks",
"authors": [
"byline_arts_13963967"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_22281",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963968",
"label": "arts_140"
},
"arts_13963948": {
"type": "posts",
"id": "arts_13963948",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963948",
"score": null,
"sort": [
1725922720000
]
},
"guestAuthors": [],
"slug": "actor-and-beloved-baritone-james-earl-jones-dies-at-93",
"title": "Actor and Beloved Baritone James Earl Jones Dies at 93",
"publishDate": 1725922720,
"format": "standard",
"headTitle": "Actor and Beloved Baritone James Earl Jones Dies at 93 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Everything about Jones was big: his stage presence, the intensity of his glance and the brilliance of his craft.",
"status": "publish",
"parent": 0,
"modified": 1725922720,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 900
},
"headData": {
"title": "James Earl Jones Dies at 93 | KQED",
"description": "Everything about Jones was big: his stage presence, the intensity of his glance and the brilliance of his craft.",
"ogTitle": "Actor and Beloved Baritone James Earl Jones Dies at 93",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Actor and Beloved Baritone James Earl Jones Dies at 93",
"twDescription": "",
"twImgId": "",
"socialTitle": "James Earl Jones Dies at 93 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Actor and Beloved Baritone James Earl Jones Dies at 93",
"datePublished": "2024-09-09T15:58:40-07:00",
"dateModified": "2024-09-09T15:58:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Allison Keyes, NPR",
"nprStoryId": "462417634",
"nprHtmlLink": "https://www.npr.org/2024/09/09/462417634/james-earl-jones-dies-at-93",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-09T17:14:22.954-04:00",
"nprStoryDate": "2024-09-09T17:14:22.954-04:00",
"nprLastModifiedDate": "2024-09-09T18:08:02.112-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963948/actor-and-beloved-baritone-james-earl-jones-dies-at-93",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963948/actor-and-beloved-baritone-james-earl-jones-dies-at-93",
"authors": [
"byline_arts_13963948"
],
"categories": [
"arts_1",
"arts_74",
"arts_235",
"arts_75",
"arts_1564"
],
"tags": [
"arts_21789"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963949",
"label": "arts_137"
},
"arts_13963828": {
"type": "posts",
"id": "arts_13963828",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963828",
"score": null,
"sort": [
1725651495000
]
},
"guestAuthors": [],
"slug": "best-movies-fall-2024-review-npr-wicked-beetlejuice-substance-wolfs-joker",
"title": "The 25 Movies NPR Critics Can’t Wait to Watch This Fall",
"publishDate": 1725651495,
"format": "standard",
"headTitle": "The 25 Movies NPR Critics Can’t Wait to Watch This Fall | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CoZqL9N6Rx4\u003c/p>\n\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E\u003c/p>\n\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=luWZENFNxoU\u003c/p>\n\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yvks3SeCDOs\u003c/p>\n\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4GTL2q9ueI4\u003c/p>\n\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_9CmC5Rmsdw\u003c/p>\n\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNlrGhBpYjc\u003c/p>\n\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9_nPeKnpfE\u003c/p>\n\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=67vbA5ZJdKQ\u003c/p>\n\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs\u003c/p>\n\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cY95YW-HVCM\u003c/p>\n\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc\u003c/p>\n\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p1HxTmV5i7c\u003c/p>\n\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wBMXS32KOQ4\u003c/p>\n\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PGXA1utDS_o\u003c/p>\n\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nYPJIOF0ys4\u003c/p>\n\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t3HupHq8-eE\u003c/p>\n\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4rgYUipGJNo\u003c/p>\n\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Here are the new releases coming your way between now and Thanksgiving — award contenders, goofy comedies, romance and all.",
"status": "publish",
"parent": 0,
"modified": 1725651495,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 2532
},
"headData": {
"title": "The Best Movies of Fall 2024, According to NPR Critics | KQED",
"description": "Here are the new releases coming your way between now and Thanksgiving — award contenders, goofy comedies, romance and all.",
"ogTitle": "The 25 Movies NPR Critics Can't Wait to Watch This Fall",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The 25 Movies NPR Critics Can't Wait to Watch This Fall",
"twDescription": "",
"twImgId": "",
"socialTitle": "The Best Movies of Fall 2024, According to NPR Critics %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 25 Movies NPR Critics Can’t Wait to Watch This Fall",
"datePublished": "2024-09-06T12:38:15-07:00",
"dateModified": "2024-09-06T12:38:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Aisha Harris",
"nprStoryId": "nx-s1-5075301",
"nprHtmlLink": "https://www.npr.org/2024/09/05/nx-s1-5075301/what-to-watch-best-movies-2024",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-06T09:00:00-04:00",
"nprStoryDate": "2024-09-06T09:00:00-04:00",
"nprLastModifiedDate": "2024-09-06T09:00:08.933-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963828/best-movies-fall-2024-review-npr-wicked-beetlejuice-substance-wolfs-joker",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\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/CoZqL9N6Rx4'\n title='//www.youtube.com/embed/CoZqL9N6Rx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/luWZENFNxoU'\n title='//www.youtube.com/embed/luWZENFNxoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Yvks3SeCDOs'\n title='//www.youtube.com/embed/Yvks3SeCDOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4GTL2q9ueI4'\n title='//www.youtube.com/embed/4GTL2q9ueI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_9CmC5Rmsdw'\n title='//www.youtube.com/embed/_9CmC5Rmsdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LNlrGhBpYjc'\n title='//www.youtube.com/embed/LNlrGhBpYjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j9_nPeKnpfE'\n title='//www.youtube.com/embed/j9_nPeKnpfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/67vbA5ZJdKQ'\n title='//www.youtube.com/embed/67vbA5ZJdKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cY95YW-HVCM'\n title='//www.youtube.com/embed/cY95YW-HVCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iZ9O_tl5Npk'\n title='//www.youtube.com/embed/iZ9O_tl5Npk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p1HxTmV5i7c'\n title='//www.youtube.com/embed/p1HxTmV5i7c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wBMXS32KOQ4'\n title='//www.youtube.com/embed/wBMXS32KOQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PGXA1utDS_o'\n title='//www.youtube.com/embed/PGXA1utDS_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nYPJIOF0ys4'\n title='//www.youtube.com/embed/nYPJIOF0ys4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t3HupHq8-eE'\n title='//www.youtube.com/embed/t3HupHq8-eE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4rgYUipGJNo'\n title='//www.youtube.com/embed/4rgYUipGJNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963828/best-movies-fall-2024-review-npr-wicked-beetlejuice-substance-wolfs-joker",
"authors": [
"byline_arts_13963828"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_22281",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963846",
"label": "arts_140"
},
"arts_13963817": {
"type": "posts",
"id": "arts_13963817",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963817",
"score": null,
"sort": [
1725645682000
]
},
"guestAuthors": [],
"slug": "beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"title": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"publishDate": 1725645682,
"format": "standard",
"headTitle": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>[aside postid='arts_13958707']But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=As-vKW4ZboU\u003c/p>\n\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>[aside postid='arts_13963648']Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>[aside postid='arts_13963688']Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>[aside postid='arts_13963123']And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Tim Burton is back with ‘Beetlejuice Beetlejuice’ 36 years after the original. For once, the question ‘Why a sequel?’ is moot.",
"status": "publish",
"parent": 0,
"modified": 1725645682,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1068
},
"headData": {
"title": "‘Beetlejuice, Beetlejuice’ Review: Burton’s Joyous Sequel | KQED",
"description": "Tim Burton is back with ‘Beetlejuice Beetlejuice’ 36 years after the original. For once, the question ‘Why a sequel?’ is moot.",
"ogTitle": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Beetlejuice, Beetlejuice’ Review: Burton’s Joyous Sequel %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"datePublished": "2024-09-06T11:01:22-07:00",
"dateModified": "2024-09-06T11:01:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jocelyn Noveck, Associated Press",
"nprStoryId": "kqed-13963817",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963817/beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958707",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/As-vKW4ZboU'\n title='//www.youtube.com/embed/As-vKW4ZboU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963648",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963688",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963123",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963817/beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"authors": [
"byline_arts_13963817"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13963825",
"label": "arts_140"
},
"arts_13963775": {
"type": "posts",
"id": "arts_13963775",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963775",
"score": null,
"sort": [
1725576782000
]
},
"guestAuthors": [],
"slug": "the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"title": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"publishDate": 1725576782,
"format": "standard",
"headTitle": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Season 4 brings a fresh influx of guest talent to ‘Only Murders in the Building,’ but the new faces don’t outshine the stars.",
"status": "publish",
"parent": 0,
"modified": 1725580994,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 659
},
"headData": {
"title": "Why ‘Only Murders in the Building’ Deserves More Emmys | KQED",
"description": "Season 4 brings a fresh influx of guest talent to ‘Only Murders in the Building,’ but the new faces don’t outshine the stars.",
"ogTitle": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"twDescription": "",
"twImgId": "",
"socialTitle": "Why ‘Only Murders in the Building’ Deserves More Emmys %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"datePublished": "2024-09-05T15:53:02-07:00",
"dateModified": "2024-09-05T17:03:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "David Bianculli, NPR",
"nprStoryId": "nx-s1-5101549",
"nprHtmlLink": "https://www.npr.org/2024/09/05/nx-s1-5101549/only-murders-in-the-building-season-4",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-05T17:00:00-04:00",
"nprStoryDate": "2024-09-05T17:00:00-04:00",
"nprLastModifiedDate": "2024-09-05T17:00:04.257-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963775/the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962860",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\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/dKyX8rocAB8'\n title='//www.youtube.com/embed/dKyX8rocAB8'\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 movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963546",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963775/the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"authors": [
"byline_arts_13963775"
],
"categories": [
"arts_1",
"arts_968",
"arts_75",
"arts_990"
],
"tags": [
"arts_5234",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963776",
"label": "arts_137"
},
"arts_13963687": {
"type": "posts",
"id": "arts_13963687",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963687",
"score": null,
"sort": [
1725566662000
]
},
"guestAuthors": [],
"slug": "taylor-swift-fans-election-kamala-harris-trump-swifties",
"title": "What Do Taylor Swift Fans Expect From Her in This Election?",
"publishDate": 1725566662,
"format": "standard",
"headTitle": "What Do Taylor Swift Fans Expect From Her in This Election? | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>[aside postID='news_11999092']Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>[aside postID='arts_13960424'] Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>[aside postID='arts_13955679']Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Swifties understand why Taylor’s socials have gone dark, but still hope for a Kamala Harris endorsement. \r\n",
"status": "publish",
"parent": 0,
"modified": 1726791476,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 46,
"wordCount": 2415
},
"headData": {
"title": "What Do Taylor Swift Fans Expect From Her in This Election? | KQED",
"description": "Swifties understand why Taylor’s socials have gone dark, but still hope for a Kamala Harris endorsement. \r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Do Taylor Swift Fans Expect From Her in This Election?",
"datePublished": "2024-09-05T13:04:22-07:00",
"dateModified": "2024-09-19T17:17:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Fandom Vote",
"sourceUrl": "https://www.kqed.org/fandomvote",
"sticky": false,
"nprStoryId": "kqed-13963687",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963687/taylor-swift-fans-election-kamala-harris-trump-swifties",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\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>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11999092",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960424",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp> Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13955679",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\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>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963687/taylor-swift-fans-election-kamala-harris-trump-swifties",
"authors": [
"11867"
],
"series": [
"arts_22318"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_10342",
"arts_4949",
"arts_22277",
"arts_22227",
"arts_10278",
"arts_22224",
"arts_822",
"arts_3026"
],
"featImg": "arts_13963721",
"label": "source_arts_13963687"
},
"arts_13963659": {
"type": "posts",
"id": "arts_13963659",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963659",
"score": null,
"sort": [
1725478520000
]
},
"guestAuthors": [],
"slug": "best-new-books-fall-2024-npr-critics",
"title": "16 New Books NPR Critics Are Looking Forward to This Fall",
"publishDate": 1725478520,
"format": "standard",
"headTitle": "16 New Books NPR Critics Are Looking Forward to This Fall | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The fall to-do list is long: There are apples to be picked, Oktoberfest beers to sip, elections to vote in, and of course — so many new books to read! We sorted through the current and upcoming releases to find 16 titles you should watch out for this fall. Dive in!\u003c/p>\n\u003ch2>Fiction\u003c/h2>\n\u003cfigure id=\"attachment_13963661\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963661\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction.png\" alt=\"Eight book covers laid out in two rows of four.\" width=\"2000\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-1020x621.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-1536x935.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-1920x1168.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fiction recommendations from NPR. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Creation Lake’ by Rachel Kushner (Sept. 3)\u003c/strong>\u003c/h2>\n\u003cp>Kushner’s new novel is about a spy named Sadie Smith (great spy name), infiltrating an eco-extremist group in southern France. The book’s already being met with great reviews, including a spot on the longlist for the Booker Prize, the UK’s fanciest literary award.\u003c/p>\n\u003ch2>\u003cstrong>‘Guide Me Home’ by Attica Locke (Sept. 3) \u003c/strong>\u003c/h2>\n\u003cp>Darren Matthews is a detective pulled out of retirement for \u003cem>one last case\u003c/em>. This time it’s the case of a Black college student missing from an all white sorority. Locke is a longtime hand at writing crime novels, and this is the conclusion of her Highway 59 trilogy.\u003c/p>\n\u003ch2>\u003cstrong>‘A Sunny Place for Shady People’ by Mariana Enriquez, translated by Megan McDowell (Sept. 17) \u003c/strong>\u003c/h2>\n\u003cp>Enriquez has made a name for herself blending supernatural horrors (ghosts, haunted houses, witches, that sort of thing) with the concrete horrors of everyday life in Argentina. Her last novel was a nearly 600-page tome, but this newest one is a collection of shorts — like a pillowcase full of trick-or-treat candies.\u003c/p>\n\u003ch2>\u003cstrong>‘The Mighty Red’ by Louise Erdrich (Oct. 1) \u003c/strong>\u003c/h2>\n\u003cp>The newest Erdrich release (which is always a big deal in the literary world) will take place during the economic crisis of 2008. There’s something of a love triangle in this book, with a woman named Kismet at the center. But Kismet’s mother has reason to worry about Kismet’s future.\u003c/p>\n\u003ch2>\u003cstrong>‘The Great When’\u003c/strong> \u003cstrong>by Alan Moore (Oct. 1) \u003c/strong>\u003c/h2>\n\u003cp>The legendary comic book writer returns with his first novel since \u003ca href=\"https://www.npr.org/2016/09/18/494287211/in-jerusalem-nothing-youve-ever-lost-is-truly-gone\">\u003cu>2016’s \u003c/u>\u003cem>\u003cu>Jerusalem.\u003c/u>\u003c/em>\u003c/a> This new one takes place in postwar London, following a young bookshop employee named Dennis who find a copy of a book from a \u003cem>different\u003c/em>, more fantastical London.\u003c/p>\n\u003ch2>\u003cstrong>‘Bull Moon Rising’ by Ruby Dixon (Oct. 15) \u003c/strong>\u003c/h2>\n\u003cp>Dixon is the author behind the \u003cem>Ice Planet Barbarians\u003c/em> series, a world of romance/erotica books with a fairly outlandish premise (Women land on a planet of sexy aliens. They do stuff together). Her new book is the start of a whole new world where our hero Aspeth Honori marries a minotaur.\u003c/p>\n\u003ch2>\u003cstrong>‘Absolution’ by Jeff VanderMeer (Oct. 22) \u003c/strong>\u003c/h2>\n\u003cp>The popular Southern Reach trilogy becomes a quadrilogy nearly 10 years after the original series was released. This newest book is a prequel, exploring the origins of the mysterious Area X.\u003c/p>\n\u003ch2>\u003cstrong>‘The City and its Uncertain Walls’\u003c/strong> \u003cstrong>by Haruki Murakami, translated by Philip Gabriel (Nov. 19) \u003c/strong>\u003c/h2>\n\u003cp>The latest novel from Japanese writer Haruki Murakami comes out in English this fall. It’s his first in six years, taking place in a fantastical realm where people read dreams and shadows can become untethered from their source. In classic Murakami fashion, the book touches on themes of loss, loneliness, and isolation.\u003c/p>\n\u003ch2>Nonfiction\u003c/h2>\n\u003cfigure id=\"attachment_13963662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction.png\" alt=\"Eight book covers laid out in two rows of four.\" width=\"2000\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-1020x621.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-768x468.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-1536x935.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-1920x1169.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nonfiction recommendations from NPR. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>‘Lovely One: A Memoir’ \u003c/em>by Ketanji Brown Jackson (Sept. 3) \u003c/strong>\u003c/h2>\n\u003cp>America’s first Black female Supreme Court justice writes a memoir detailing her early childhood, and the hurdles she faced coming up in the legal world.\u003c/p>\n\u003ch2>\u003cstrong>‘We’re Alone: Essays’ by Edwidge Danticat (Sept. 3) \u003c/strong>\u003c/h2>\n\u003cp>This essay collection finds Danticat looking back at her native country of Haiti. Not with the naive rose-colored glasses of nostalgia, but with full awareness of the complicated nature of “resilience” and the mixed feelings anyone has about where they came from.\u003c/p>\n\u003ch2>\u003cstrong>‘Reagan: His Life and Legend’ by Max Boot (Sept. 10) \u003c/strong>\u003c/h2>\n\u003cp>For the person in your life obsessed with presidential biographies, Boot’s newest book is a deeply reported look into the life of Ronald Reagan. Covering his childhood, his Hollywood years and, of course, his presidency, Boot portrays a man that is somehow both more\u003ca href=\"https://www.washingtonpost.com/opinions/2024/08/27/reagan-ideologue-pragmatist-boot/\">\u003cu> ideological and more pragmatic than\u003c/u>\u003c/a> we might think.\u003c/p>\n\u003ch2>\u003cstrong>‘Connie: A Memoir’ by Connie Chung (Sept. 17) \u003c/strong>\u003c/h2>\n\u003cp>Connie Chung is a broadcast legend. As the first woman to co-anchor the \u003cem>CBS Evening News\u003c/em> as well as the first Asian to anchor a national news broadcast in the U.S., Chung has got loads of stories to share about breaking into the industry and dealing with rivals and the other men in her way.\u003c/p>\n\u003ch2>\u003cstrong>‘The Message’ by Ta-Nehisi Coates (Oct. 1) \u003c/strong>\u003c/h2>\n\u003cp>Coates’ 2015 book \u003cem>Between the World and Me\u003c/em> made a huge splash, winning awards and audiences as it addressed race in America. Since then, Coates has written comics, a novel, and did some reporting. And this new book is the result of that reporting, documenting his travels everywhere from the West Bank to Columbia, South Carolina, in order to come to terms with the myths we tell ourselves.\u003c/p>\n\u003ch2>\u003cstrong>‘Sonny Boy: A Memoir’\u003c/strong> \u003cstrong>by Al Pacino (Oct. 15) \u003c/strong>\u003c/h2>\n\u003cp>It was Pacino’s mom that first used the nickname Sonny Boy. It comes from an Al Jolson song she used to sing to him. The book digs deep into old memories like this one, detailing his childhood in the South Bronx and how he fell in love with the craft of filmmaking.\u003c/p>\n\u003ch2>\u003cstrong>‘War’ by Bob Woodward (Oct. 15) \u003c/strong>\u003c/h2>\n\u003cp>The Pulitzer Prize-winning journalist continues his run of deeply reported portrayals of what’s going on in the upper echelons of American government. This new book examines President Biden’s handling of the wars in Ukraine and the Middle East, and how former president Trump has been spending his time in the run-up to this November’s election.\u003c/p>\n\u003ch2>\u003cstrong>‘High and Rising: A Book About De La Soul’ by Marcus J. Moore\u003c/strong> \u003cstrong>(Nov. 19) \u003c/strong>\u003c/h2>\n\u003cp>It’s been a little over a year now since the influential hip hop group De La Soul made its way onto streaming platforms. Which means we’re overdue for a big book about them. Music writer Marcus J. Moore tells the story of what made this band work, re-contextualizing them for old heads and introducing them to new listeners alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Bad news: Summer's over. Good news: Fall books are here! NPR’s got a list of 16 titles you'll want to look out for.",
"status": "publish",
"parent": 0,
"modified": 1726700713,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1073
},
"headData": {
"title": "Best New Fiction and Nonfiction Books for Fall 2024 | KQED",
"description": "Bad news: Summer's over. Good news: Fall books are here! NPR’s got a list of 16 titles you'll want to look out for.",
"ogTitle": "16 New Books NPR Critics Are Looking Forward to This Fall",
"ogDescription": "",
"ogImgId": "",
"twTitle": "16 New Books NPR Critics Are Looking Forward to This Fall",
"twDescription": "",
"twImgId": "",
"socialTitle": "Best New Fiction and Nonfiction Books for Fall 2024 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "16 New Books NPR Critics Are Looking Forward to This Fall",
"datePublished": "2024-09-04T12:35:20-07:00",
"dateModified": "2024-09-18T16:05:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Limbong",
"nprStoryId": "nx-s1-5099220",
"nprHtmlLink": "https://www.npr.org/2024/09/03/nx-s1-5099220/best-books-fiction-nonfiction-2024",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-04T07:00:00-04:00",
"nprStoryDate": "2024-09-04T07:00:00-04:00",
"nprLastModifiedDate": "2024-09-04T07:00:05.102-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963659/best-new-books-fall-2024-npr-critics",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fall to-do list is long: There are apples to be picked, Oktoberfest beers to sip, elections to vote in, and of course — so many new books to read! We sorted through the current and upcoming releases to find 16 titles you should watch out for this fall. Dive in!\u003c/p>\n\u003ch2>Fiction\u003c/h2>\n\u003cfigure id=\"attachment_13963661\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963661\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction.png\" alt=\"Eight book covers laid out in two rows of four.\" width=\"2000\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-1020x621.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-1536x935.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/fiction-1920x1168.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fiction recommendations from NPR. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Creation Lake’ by Rachel Kushner (Sept. 3)\u003c/strong>\u003c/h2>\n\u003cp>Kushner’s new novel is about a spy named Sadie Smith (great spy name), infiltrating an eco-extremist group in southern France. The book’s already being met with great reviews, including a spot on the longlist for the Booker Prize, the UK’s fanciest literary award.\u003c/p>\n\u003ch2>\u003cstrong>‘Guide Me Home’ by Attica Locke (Sept. 3) \u003c/strong>\u003c/h2>\n\u003cp>Darren Matthews is a detective pulled out of retirement for \u003cem>one last case\u003c/em>. This time it’s the case of a Black college student missing from an all white sorority. Locke is a longtime hand at writing crime novels, and this is the conclusion of her Highway 59 trilogy.\u003c/p>\n\u003ch2>\u003cstrong>‘A Sunny Place for Shady People’ by Mariana Enriquez, translated by Megan McDowell (Sept. 17) \u003c/strong>\u003c/h2>\n\u003cp>Enriquez has made a name for herself blending supernatural horrors (ghosts, haunted houses, witches, that sort of thing) with the concrete horrors of everyday life in Argentina. Her last novel was a nearly 600-page tome, but this newest one is a collection of shorts — like a pillowcase full of trick-or-treat candies.\u003c/p>\n\u003ch2>\u003cstrong>‘The Mighty Red’ by Louise Erdrich (Oct. 1) \u003c/strong>\u003c/h2>\n\u003cp>The newest Erdrich release (which is always a big deal in the literary world) will take place during the economic crisis of 2008. There’s something of a love triangle in this book, with a woman named Kismet at the center. But Kismet’s mother has reason to worry about Kismet’s future.\u003c/p>\n\u003ch2>\u003cstrong>‘The Great When’\u003c/strong> \u003cstrong>by Alan Moore (Oct. 1) \u003c/strong>\u003c/h2>\n\u003cp>The legendary comic book writer returns with his first novel since \u003ca href=\"https://www.npr.org/2016/09/18/494287211/in-jerusalem-nothing-youve-ever-lost-is-truly-gone\">\u003cu>2016’s \u003c/u>\u003cem>\u003cu>Jerusalem.\u003c/u>\u003c/em>\u003c/a> This new one takes place in postwar London, following a young bookshop employee named Dennis who find a copy of a book from a \u003cem>different\u003c/em>, more fantastical London.\u003c/p>\n\u003ch2>\u003cstrong>‘Bull Moon Rising’ by Ruby Dixon (Oct. 15) \u003c/strong>\u003c/h2>\n\u003cp>Dixon is the author behind the \u003cem>Ice Planet Barbarians\u003c/em> series, a world of romance/erotica books with a fairly outlandish premise (Women land on a planet of sexy aliens. They do stuff together). Her new book is the start of a whole new world where our hero Aspeth Honori marries a minotaur.\u003c/p>\n\u003ch2>\u003cstrong>‘Absolution’ by Jeff VanderMeer (Oct. 22) \u003c/strong>\u003c/h2>\n\u003cp>The popular Southern Reach trilogy becomes a quadrilogy nearly 10 years after the original series was released. This newest book is a prequel, exploring the origins of the mysterious Area X.\u003c/p>\n\u003ch2>\u003cstrong>‘The City and its Uncertain Walls’\u003c/strong> \u003cstrong>by Haruki Murakami, translated by Philip Gabriel (Nov. 19) \u003c/strong>\u003c/h2>\n\u003cp>The latest novel from Japanese writer Haruki Murakami comes out in English this fall. It’s his first in six years, taking place in a fantastical realm where people read dreams and shadows can become untethered from their source. In classic Murakami fashion, the book touches on themes of loss, loneliness, and isolation.\u003c/p>\n\u003ch2>Nonfiction\u003c/h2>\n\u003cfigure id=\"attachment_13963662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction.png\" alt=\"Eight book covers laid out in two rows of four.\" width=\"2000\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-1020x621.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-768x468.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-1536x935.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nonfiction-1920x1169.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nonfiction recommendations from NPR. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>‘Lovely One: A Memoir’ \u003c/em>by Ketanji Brown Jackson (Sept. 3) \u003c/strong>\u003c/h2>\n\u003cp>America’s first Black female Supreme Court justice writes a memoir detailing her early childhood, and the hurdles she faced coming up in the legal world.\u003c/p>\n\u003ch2>\u003cstrong>‘We’re Alone: Essays’ by Edwidge Danticat (Sept. 3) \u003c/strong>\u003c/h2>\n\u003cp>This essay collection finds Danticat looking back at her native country of Haiti. Not with the naive rose-colored glasses of nostalgia, but with full awareness of the complicated nature of “resilience” and the mixed feelings anyone has about where they came from.\u003c/p>\n\u003ch2>\u003cstrong>‘Reagan: His Life and Legend’ by Max Boot (Sept. 10) \u003c/strong>\u003c/h2>\n\u003cp>For the person in your life obsessed with presidential biographies, Boot’s newest book is a deeply reported look into the life of Ronald Reagan. Covering his childhood, his Hollywood years and, of course, his presidency, Boot portrays a man that is somehow both more\u003ca href=\"https://www.washingtonpost.com/opinions/2024/08/27/reagan-ideologue-pragmatist-boot/\">\u003cu> ideological and more pragmatic than\u003c/u>\u003c/a> we might think.\u003c/p>\n\u003ch2>\u003cstrong>‘Connie: A Memoir’ by Connie Chung (Sept. 17) \u003c/strong>\u003c/h2>\n\u003cp>Connie Chung is a broadcast legend. As the first woman to co-anchor the \u003cem>CBS Evening News\u003c/em> as well as the first Asian to anchor a national news broadcast in the U.S., Chung has got loads of stories to share about breaking into the industry and dealing with rivals and the other men in her way.\u003c/p>\n\u003ch2>\u003cstrong>‘The Message’ by Ta-Nehisi Coates (Oct. 1) \u003c/strong>\u003c/h2>\n\u003cp>Coates’ 2015 book \u003cem>Between the World and Me\u003c/em> made a huge splash, winning awards and audiences as it addressed race in America. Since then, Coates has written comics, a novel, and did some reporting. And this new book is the result of that reporting, documenting his travels everywhere from the West Bank to Columbia, South Carolina, in order to come to terms with the myths we tell ourselves.\u003c/p>\n\u003ch2>\u003cstrong>‘Sonny Boy: A Memoir’\u003c/strong> \u003cstrong>by Al Pacino (Oct. 15) \u003c/strong>\u003c/h2>\n\u003cp>It was Pacino’s mom that first used the nickname Sonny Boy. It comes from an Al Jolson song she used to sing to him. The book digs deep into old memories like this one, detailing his childhood in the South Bronx and how he fell in love with the craft of filmmaking.\u003c/p>\n\u003ch2>\u003cstrong>‘War’ by Bob Woodward (Oct. 15) \u003c/strong>\u003c/h2>\n\u003cp>The Pulitzer Prize-winning journalist continues his run of deeply reported portrayals of what’s going on in the upper echelons of American government. This new book examines President Biden’s handling of the wars in Ukraine and the Middle East, and how former president Trump has been spending his time in the run-up to this November’s election.\u003c/p>\n\u003ch2>\u003cstrong>‘High and Rising: A Book About De La Soul’ by Marcus J. Moore\u003c/strong> \u003cstrong>(Nov. 19) \u003c/strong>\u003c/h2>\n\u003cp>It’s been a little over a year now since the influential hip hop group De La Soul made its way onto streaming platforms. Which means we’re overdue for a big book about them. Music writer Marcus J. Moore tells the story of what made this band work, re-contextualizing them for old heads and introducing them to new listeners alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963659/best-new-books-fall-2024-npr-critics",
"authors": [
"byline_arts_13963659"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_22281",
"arts_5221",
"arts_22296",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963664",
"label": "arts_140"
},
"arts_13959726": {
"type": "posts",
"id": "arts_13959726",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959726",
"score": null,
"sort": [
1725474738000
]
},
"guestAuthors": [],
"slug": "vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform",
"title": "The Transgender Topless Dancer Who Went to War with Prison Authorities",
"publishDate": 1725474738,
"format": "standard",
"headTitle": "The Transgender Topless Dancer Who Went to War with Prison Authorities | KQED",
"labelTerm": {},
"content": "\u003cp>In 1964, after \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda danced topless at The Condor\u003c/a> for the first time, nightclubs across San Francisco’s North Beach erupted into a \u003ca href=\"https://www.kqed.org/arts/13958719/who-was-yvonne-dangers-1960s-topless-north-beach-star-deportation\">topless frenzy\u003c/a>. Topless bands, topless clothing stores and even a topless shoe shine all opened in quick succession. But one of the most sensational acts of the time came courtesy of Vicki “Starr” Fernandez, a beautiful transgender woman.\u003c/p>\n\u003cp>[aside postid='arts_13959375']Born in Puerto Rico in 1932, Fernandez ran away to America aged just 14, so that she might live a freer, more authentic life. “As a child,” she told the Bakersfield Californian in 1968, “I was more feminine and pretty than the girls in our school … When I was a teenager, my looks and behavior became an embarrassment to my family. The other kids started making really vicious remarks to me … [In] the States, at least I can dress and act as I please without hurting myself or my family.”\u003c/p>\n\u003cp>Fernandez danced all over North Beach at clubs including Finnochio’s, El Cid, Pierre’s, Mr. D’s and Coke’s. At the Follies Burlesque, Fernandez participated in the “Battle of the Sexes” — a dance-off in which cis women went head-to-head with trans women and drag queens. (The point was that the audience could rarely tell who was who.) Fernandez was frequently billed as “Mister” (or “Mr.”) Vicki Starr, sensationalizing her trans-ness as a way to maximize audience numbers. This kind of publicity undoubtedly carried major risks for her personal safety and legal standing. Still, she boldly and diligently carried on performing, never shying away from talking about her gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13959772\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg\" alt=\"A nightclub poster featuring two women, one glamorously made-up, the other standing topless, her back turned to the camera.\" width=\"2560\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1536x1190.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1920x1488.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Coke’s advertising performances by Vicki Starr and Roxanne Alegria with the declaration that: ‘Boys will be girls.’ \u003ccite>(Courtesy of the GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Fernandez told \u003cem>San Francisco Chronicle\u003c/em> columnist Merla Zellerbach that she was “working for one reason — to earn money to pay for the conversion operation. As soon as it’s finished, my fiancé and I will get married, possibly adopt children and settle down quietly.” What Fernandez craved, she told the reporter, was “a normal life as a woman.” She was entirely unwilling to give up on that dream, no matter the hurdles in her path. Though Fernandez enjoyed the limelight and relished every opportunity to be her most glamorous self, the nightclubs that made her famous were in many ways merely a means of survival.\u003c/p>\n\u003ch2>Standing up for herself\u003c/h2>\n\u003cp>Fernandez spent much of her life kicking against social and institutional prejudice. From the time she arrived in San Francisco, Fernandez unabashedly lived every moment as the woman that she was. She was a fashionista, always clad in the most elegant styles of the day. She attracted a large, loving and very diverse friend group. She was politically active, keeping files of political pamphlets at home from the likes of George Moscone and Willie Brown, and voting for Harvey Milk when he was a candidate for the Board of Supervisors. Throughout her life, she stood up for and fiercely defended her rights as a woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest battles of Fernandez’s life started in 1971, when Fernandez’s longterm partner Richard Smith was convicted of homicide and incarcerated. It was far from the domestic bliss she had once envisioned for herself and, making matters worse, she soon found herself restricted from visiting Smith because of her gender identity.\u003c/p>\n\u003cp>One correspondence from the California Men’s Colony in San Luis Obispo reflects the hostile policies of the era:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez remains biologically a male. Accordingly, until such time as a sex change operation is completed, and other approval to visit has been granted, Ms. Fernandez would be expected to enter the institution in male attire and utilize the male rest room.\u003c/p>\u003c/blockquote>\n\u003cp>To Fernandez, these parameters were unacceptable. She quickly sought out the assistance of the San Francisco Neighborhood Legal Assistance Foundation (SFNLAF), and together they went about becoming a thorn in the side of the California Department of Corrections. They started with letters to the California State Prison Solano, in which Smith was originally held, then moved on to the prison in San Luis Obispo, where he was moved in 1974. That year, one letter to its director Raymond Procunier stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez was allowed to visit [Smith] for a period of 9 months without any questions raised. She made no attempt to hide her identity in this time. It was evidently only after Ms. Fernandez was discovered to be a trans-sexual that her visiting privilege was suddenly denied.\u003c/p>\u003c/blockquote>\n\u003cp>For years, Fernandez and the SFNLAF badgered the Department of Corrections to change their stance on Fernandez’s clothing restrictions. And for years, the Department of Corrections tried to brush them off. Fernandez refused to back down. She began actively studying and campaigning for prison reform. She sought advice from the Prisoner’s Union, the American Civil Liberties Union and the Prison Law Collective. She contacted \u003ca href=\"https://www.kqed.org/news/11985739/san-franciscans-honor-glide-church-founder-rev-cecil-williams-at-memorial-ceremony\">Rev. Cecil Williams\u003c/a> of Glide Memorial, knowing he was outspoken on the topic of prison reform. She befriended Daniel Castro, the senior consultant for the select committee on corrections. She became a relentless force — and eventually, her work paid off.\u003c/p>\n\u003cp>In 1975, the San Luis Obispo Men’s Colony finally relented and permitted Fernandez to visit Smith in the clothing of her choosing. Access alone was not enough to silence her. When transphobic treatment reared its head in the visitors’ room, Fernandez made sure to document her displeasure in written complaints. One letter from the SFNLAF to H.L. Shaw, then the outside lieutenant of the San Luis Obispo prison, stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez has been subjected to further abuse which is uncalled for. Her attempts to hold hands and affectionately touch Mr. Smith in the way common between husband and wife has been precluded. Various sergeants under you have offended Ms. Fernandez by carefully policing her hand holding activities.\u003c/p>\u003c/blockquote>\n\u003cp>It never mattered who she was up against, Fernandez was always ready to fight for equal treatment, no matter the venue.\u003c/p>\n\u003ch2>A loving legacy\u003c/h2>\n\u003cp>Though Fernandez’s life was not the easiest, she refused to live meekly or under anyone’s thumb. Proud of her identity, she fought tooth and nail for every scrap of progress she ever made and every shred of happiness she ever found. She was indefatigable when it came to living out loud, no matter who was judging her. But behind closed doors, she was a sensitive and sentimental soul. In the end, it was those traits that formed the foundation of Fernandez’s lasting cultural legacy.\u003c/p>\n\u003cp>[aside postid='arts_13870056']During an era when many of her contemporaries were trying their best to live under the radar and out of sight, Fernandez proudly documented her community in as many ways as she could. In her death, Fernandez left behind a comprehensive goldmine of photographs, flyers and other ephemera that continues to stand as a reflection of the LGBTQ community from the 1950s through the 1980s. These files reflect a joyful and loving community full of beautiful souls who refused to be relegated to the shadows. Now in the care of San Francisco’s GLBT Historical Society, they offer important insight into a woefully under-documented period of time for LGBTQ people.\u003c/p>\n\u003cp>In 1967, bemoaning the many hardships she faced, Fernandez told the \u003cem>Chronicle\u003c/em>: “If I’d been born all girl, none of this would have happened.”\u003c/p>\n\u003cp>While her life would have undoubtedly been less challenging if that was the case, it was Fernandez’s trans-ness that ultimately made her so special — in her nightclub performances, in her legal battles, and in the keepsakes she ultimately left behind. “You have a very peaceful effect on people,” a friend named Susan wrote to Fernandez in the 1970s. “A harmony that lifts them and can heal them.”\u003c/p>\n\u003cp>The personal documents Fernandez left behind will continue to do so long into the future.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \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> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Vicki ‘Starr’ Fernandez was a topless dancer who fought tirelessly for her right to be seen as a woman.",
"status": "publish",
"parent": 0,
"modified": 1769719576,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1416
},
"headData": {
"title": "Honoring Vicki Starr, the Transgender Nightclub Sensation | KQED",
"description": "Vicki ‘Starr’ Fernandez was a topless dancer who fought tirelessly for her right to be seen as a woman.",
"ogTitle": "The Transgender Topless Dancer Who Went to War with Prison Authorities",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The Transgender Topless Dancer Who Went to War with Prison Authorities",
"twDescription": "",
"twImgId": "",
"socialTitle": "Honoring Vicki Starr, the Transgender Nightclub Sensation %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Transgender Topless Dancer Who Went to War with Prison Authorities",
"datePublished": "2024-09-04T11:32:18-07:00",
"dateModified": "2026-01-29T12:46:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 7862,
"slug": "history",
"name": "History"
},
"source": "Rebel Girls",
"sourceUrl": "https://www.kqed.org/rebelgirls",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/86637a34-42b5-43b4-983e-b20c0133c236/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13959726",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1964, after \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda danced topless at The Condor\u003c/a> for the first time, nightclubs across San Francisco’s North Beach erupted into a \u003ca href=\"https://www.kqed.org/arts/13958719/who-was-yvonne-dangers-1960s-topless-north-beach-star-deportation\">topless frenzy\u003c/a>. Topless bands, topless clothing stores and even a topless shoe shine all opened in quick succession. But one of the most sensational acts of the time came courtesy of Vicki “Starr” Fernandez, a beautiful transgender woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959375",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Born in Puerto Rico in 1932, Fernandez ran away to America aged just 14, so that she might live a freer, more authentic life. “As a child,” she told the Bakersfield Californian in 1968, “I was more feminine and pretty than the girls in our school … When I was a teenager, my looks and behavior became an embarrassment to my family. The other kids started making really vicious remarks to me … [In] the States, at least I can dress and act as I please without hurting myself or my family.”\u003c/p>\n\u003cp>Fernandez danced all over North Beach at clubs including Finnochio’s, El Cid, Pierre’s, Mr. D’s and Coke’s. At the Follies Burlesque, Fernandez participated in the “Battle of the Sexes” — a dance-off in which cis women went head-to-head with trans women and drag queens. (The point was that the audience could rarely tell who was who.) Fernandez was frequently billed as “Mister” (or “Mr.”) Vicki Starr, sensationalizing her trans-ness as a way to maximize audience numbers. This kind of publicity undoubtedly carried major risks for her personal safety and legal standing. Still, she boldly and diligently carried on performing, never shying away from talking about her gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13959772\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg\" alt=\"A nightclub poster featuring two women, one glamorously made-up, the other standing topless, her back turned to the camera.\" width=\"2560\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1536x1190.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1920x1488.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Coke’s advertising performances by Vicki Starr and Roxanne Alegria with the declaration that: ‘Boys will be girls.’ \u003ccite>(Courtesy of the GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Fernandez told \u003cem>San Francisco Chronicle\u003c/em> columnist Merla Zellerbach that she was “working for one reason — to earn money to pay for the conversion operation. As soon as it’s finished, my fiancé and I will get married, possibly adopt children and settle down quietly.” What Fernandez craved, she told the reporter, was “a normal life as a woman.” She was entirely unwilling to give up on that dream, no matter the hurdles in her path. Though Fernandez enjoyed the limelight and relished every opportunity to be her most glamorous self, the nightclubs that made her famous were in many ways merely a means of survival.\u003c/p>\n\u003ch2>Standing up for herself\u003c/h2>\n\u003cp>Fernandez spent much of her life kicking against social and institutional prejudice. From the time she arrived in San Francisco, Fernandez unabashedly lived every moment as the woman that she was. She was a fashionista, always clad in the most elegant styles of the day. She attracted a large, loving and very diverse friend group. She was politically active, keeping files of political pamphlets at home from the likes of George Moscone and Willie Brown, and voting for Harvey Milk when he was a candidate for the Board of Supervisors. Throughout her life, she stood up for and fiercely defended her rights as a woman.\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>One of the biggest battles of Fernandez’s life started in 1971, when Fernandez’s longterm partner Richard Smith was convicted of homicide and incarcerated. It was far from the domestic bliss she had once envisioned for herself and, making matters worse, she soon found herself restricted from visiting Smith because of her gender identity.\u003c/p>\n\u003cp>One correspondence from the California Men’s Colony in San Luis Obispo reflects the hostile policies of the era:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez remains biologically a male. Accordingly, until such time as a sex change operation is completed, and other approval to visit has been granted, Ms. Fernandez would be expected to enter the institution in male attire and utilize the male rest room.\u003c/p>\u003c/blockquote>\n\u003cp>To Fernandez, these parameters were unacceptable. She quickly sought out the assistance of the San Francisco Neighborhood Legal Assistance Foundation (SFNLAF), and together they went about becoming a thorn in the side of the California Department of Corrections. They started with letters to the California State Prison Solano, in which Smith was originally held, then moved on to the prison in San Luis Obispo, where he was moved in 1974. That year, one letter to its director Raymond Procunier stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez was allowed to visit [Smith] for a period of 9 months without any questions raised. She made no attempt to hide her identity in this time. It was evidently only after Ms. Fernandez was discovered to be a trans-sexual that her visiting privilege was suddenly denied.\u003c/p>\u003c/blockquote>\n\u003cp>For years, Fernandez and the SFNLAF badgered the Department of Corrections to change their stance on Fernandez’s clothing restrictions. And for years, the Department of Corrections tried to brush them off. Fernandez refused to back down. She began actively studying and campaigning for prison reform. She sought advice from the Prisoner’s Union, the American Civil Liberties Union and the Prison Law Collective. She contacted \u003ca href=\"https://www.kqed.org/news/11985739/san-franciscans-honor-glide-church-founder-rev-cecil-williams-at-memorial-ceremony\">Rev. Cecil Williams\u003c/a> of Glide Memorial, knowing he was outspoken on the topic of prison reform. She befriended Daniel Castro, the senior consultant for the select committee on corrections. She became a relentless force — and eventually, her work paid off.\u003c/p>\n\u003cp>In 1975, the San Luis Obispo Men’s Colony finally relented and permitted Fernandez to visit Smith in the clothing of her choosing. Access alone was not enough to silence her. When transphobic treatment reared its head in the visitors’ room, Fernandez made sure to document her displeasure in written complaints. One letter from the SFNLAF to H.L. Shaw, then the outside lieutenant of the San Luis Obispo prison, stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez has been subjected to further abuse which is uncalled for. Her attempts to hold hands and affectionately touch Mr. Smith in the way common between husband and wife has been precluded. Various sergeants under you have offended Ms. Fernandez by carefully policing her hand holding activities.\u003c/p>\u003c/blockquote>\n\u003cp>It never mattered who she was up against, Fernandez was always ready to fight for equal treatment, no matter the venue.\u003c/p>\n\u003ch2>A loving legacy\u003c/h2>\n\u003cp>Though Fernandez’s life was not the easiest, she refused to live meekly or under anyone’s thumb. Proud of her identity, she fought tooth and nail for every scrap of progress she ever made and every shred of happiness she ever found. She was indefatigable when it came to living out loud, no matter who was judging her. But behind closed doors, she was a sensitive and sentimental soul. In the end, it was those traits that formed the foundation of Fernandez’s lasting cultural legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13870056",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>During an era when many of her contemporaries were trying their best to live under the radar and out of sight, Fernandez proudly documented her community in as many ways as she could. In her death, Fernandez left behind a comprehensive goldmine of photographs, flyers and other ephemera that continues to stand as a reflection of the LGBTQ community from the 1950s through the 1980s. These files reflect a joyful and loving community full of beautiful souls who refused to be relegated to the shadows. Now in the care of San Francisco’s GLBT Historical Society, they offer important insight into a woefully under-documented period of time for LGBTQ people.\u003c/p>\n\u003cp>In 1967, bemoaning the many hardships she faced, Fernandez told the \u003cem>Chronicle\u003c/em>: “If I’d been born all girl, none of this would have happened.”\u003c/p>\n\u003cp>While her life would have undoubtedly been less challenging if that was the case, it was Fernandez’s trans-ness that ultimately made her so special — in her nightclub performances, in her legal battles, and in the keepsakes she ultimately left behind. “You have a very peaceful effect on people,” a friend named Susan wrote to Fernandez in the 1970s. “A harmony that lifts them and can heal them.”\u003c/p>\n\u003cp>The personal documents Fernandez left behind will continue to do so long into the future.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \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> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform",
"authors": [
"11242"
],
"series": [
"arts_22303",
"arts_22492"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75"
],
"tags": [
"arts_10278",
"arts_1962",
"arts_5747",
"arts_3226",
"arts_21841"
],
"featImg": "arts_13963471",
"label": "source_arts_13959726"
},
"arts_13963648": {
"type": "posts",
"id": "arts_13963648",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963648",
"score": null,
"sort": [
1725474667000
]
},
"guestAuthors": [],
"slug": "netflixs-tight-taut-and-tension-filled-rebel-ridge-is-a-first-rate-drama",
"title": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"publishDate": 1725474667,
"format": "standard",
"headTitle": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>Rebel Ridge\u003c/em> opens with a shot of a lanky, muscular stranger riding into a small, corrupt Southern town — a scene we’ve all seen plenty of times. Except this stranger isn’t in a truck or on a horse. He’s on a bicycle.\u003c/p>\n\u003cp>It’s one of many ways that writer-director Jeremy Saulnier both honors and has fun with movie conventions on his way to making clearly one of the best things on Netflix.\u003c/p>\n\u003cp>[aside postid='arts_13963389']The tight, taut and tension-filled \u003cem>Rebel Ridge\u003c/em> is the story of a former Marine who arrives in Shelby Springs, Louisiana, to post his cousin’s bond and gets sucked into taking on its shady law enforcement department.\u003c/p>\n\u003cp>The last time a relative came to help his cousin from the clutches of less-than-ideal small town Southern legal system it was a comedy with Joe Pesci and a hero named Vinny. If you ever needed a hint that this isn’t that movie, the opening sequence is scored to Iron Maiden.\u003c/p>\n\u003cp>The movie stars Aaron Pierre as our former Marine, Terry Richmond, a man with mad martial arts and survival skills (he catches fish with his bare hands), and, on the opposite side, Don Johnson as the courtly but deadly chief of police, as venal as Richmond is noble. Both seem absolutely to adore their gun-slinging, testosterone-filled roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saulnier — who dealt with frontier justice and lawlessness in his previous \u003cem>Blue Ruin\u003c/em> and \u003cem>Green Room\u003c/em> — has given this action-thriller loads of social context: racism, opioid addiction, the cash bail system, small-town funding and militarized cops.\u003c/p>\n\u003cp>Like its leading man, \u003cem>Rebel Ridge\u003c/em> is a lean, muscular movie with few over-the-top special effects, save for Pierre’s spectacular eyes. It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gF3gZicntIw\u003c/p>\n\u003cp>The script is spare — allowing for some homespun poetry like “You know the thing about a pissing contest? Everybody gets piss on their boots” — and without an ounce of fat. So if a bottle of coconut water is brought up in one scene, it’s going be used in another. There are interesting camera angles, like the backseat of a speeding car or a tense cell phone call inside an old-fashioned phone booth.\u003c/p>\n\u003cp>There’s also great use of dramatic underscoring by Brooke and Will Blair, who build discordant waves that grow slack, only to reappear like a shark. The score — including “Wayfaring Stranger” by Neko Case or “Right Brigade” by Bad Brains — are heard only on car radios or headphones or playing in restaurants. Distant thunder sounds often.\u003c/p>\n\u003cp>[aside postid='arts_13963339']Our ex-Marine — described by one officer as “unarmed but considered dangerous” — forges an unlikely ally in a court clerk, played winningly by AnnaSophia Robb, and there’s a plumb role for James Cromwell, too.\u003c/p>\n\u003cp>\u003cem>Rebel Ridge\u003c/em> has whiffs of all kinds of other movies, from \u003cem>First Blood\u003c/em> to spaghetti Westerns, while the script even humanizes the bad guys — “Just because you was right doesn’t make us wrong,” the chief says to our hero.\u003c/p>\n\u003cp>There’s a conspiracy at the heart of the town and you likely won’t be able to turn off the movie before finding out if one well-trained stranger can save the day, as things gloriously escalate. “It’s gotten out of hand. Real soup sandwich,” says our hero. That’s not what ended up on your TV screen, though — it’s the very opposite of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rebel Ridge’ begins streaming on Netflix on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A former Marine takes on shady small town law enforcement in Jeremy Saulnier's gripping new movie.",
"status": "publish",
"parent": 0,
"modified": 1725474667,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 659
},
"headData": {
"title": "‘Rebel Ridge’ Is the Best New Movie on Netflix | KQED",
"description": "A former Marine takes on shady small town law enforcement in Jeremy Saulnier's gripping new movie.",
"ogTitle": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Rebel Ridge’ Is the Best New Movie on Netflix%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"datePublished": "2024-09-04T11:31:07-07:00",
"dateModified": "2024-09-04T11:31:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13963648",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963648/netflixs-tight-taut-and-tension-filled-rebel-ridge-is-a-first-rate-drama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Rebel Ridge\u003c/em> opens with a shot of a lanky, muscular stranger riding into a small, corrupt Southern town — a scene we’ve all seen plenty of times. Except this stranger isn’t in a truck or on a horse. He’s on a bicycle.\u003c/p>\n\u003cp>It’s one of many ways that writer-director Jeremy Saulnier both honors and has fun with movie conventions on his way to making clearly one of the best things on Netflix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963389",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The tight, taut and tension-filled \u003cem>Rebel Ridge\u003c/em> is the story of a former Marine who arrives in Shelby Springs, Louisiana, to post his cousin’s bond and gets sucked into taking on its shady law enforcement department.\u003c/p>\n\u003cp>The last time a relative came to help his cousin from the clutches of less-than-ideal small town Southern legal system it was a comedy with Joe Pesci and a hero named Vinny. If you ever needed a hint that this isn’t that movie, the opening sequence is scored to Iron Maiden.\u003c/p>\n\u003cp>The movie stars Aaron Pierre as our former Marine, Terry Richmond, a man with mad martial arts and survival skills (he catches fish with his bare hands), and, on the opposite side, Don Johnson as the courtly but deadly chief of police, as venal as Richmond is noble. Both seem absolutely to adore their gun-slinging, testosterone-filled roles.\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>Saulnier — who dealt with frontier justice and lawlessness in his previous \u003cem>Blue Ruin\u003c/em> and \u003cem>Green Room\u003c/em> — has given this action-thriller loads of social context: racism, opioid addiction, the cash bail system, small-town funding and militarized cops.\u003c/p>\n\u003cp>Like its leading man, \u003cem>Rebel Ridge\u003c/em> is a lean, muscular movie with few over-the-top special effects, save for Pierre’s spectacular eyes. It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.\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/gF3gZicntIw'\n title='//www.youtube.com/embed/gF3gZicntIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The script is spare — allowing for some homespun poetry like “You know the thing about a pissing contest? Everybody gets piss on their boots” — and without an ounce of fat. So if a bottle of coconut water is brought up in one scene, it’s going be used in another. There are interesting camera angles, like the backseat of a speeding car or a tense cell phone call inside an old-fashioned phone booth.\u003c/p>\n\u003cp>There’s also great use of dramatic underscoring by Brooke and Will Blair, who build discordant waves that grow slack, only to reappear like a shark. The score — including “Wayfaring Stranger” by Neko Case or “Right Brigade” by Bad Brains — are heard only on car radios or headphones or playing in restaurants. Distant thunder sounds often.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963339",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Our ex-Marine — described by one officer as “unarmed but considered dangerous” — forges an unlikely ally in a court clerk, played winningly by AnnaSophia Robb, and there’s a plumb role for James Cromwell, too.\u003c/p>\n\u003cp>\u003cem>Rebel Ridge\u003c/em> has whiffs of all kinds of other movies, from \u003cem>First Blood\u003c/em> to spaghetti Westerns, while the script even humanizes the bad guys — “Just because you was right doesn’t make us wrong,” the chief says to our hero.\u003c/p>\n\u003cp>There’s a conspiracy at the heart of the town and you likely won’t be able to turn off the movie before finding out if one well-trained stranger can save the day, as things gloriously escalate. “It’s gotten out of hand. Real soup sandwich,” says our hero. That’s not what ended up on your TV screen, though — it’s the very opposite of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rebel Ridge’ begins streaming on Netflix on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963648/netflixs-tight-taut-and-tension-filled-rebel-ridge-is-a-first-rate-drama",
"authors": [
"byline_arts_13963648"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_15246",
"arts_3324",
"arts_769",
"arts_585"
],
"featImg": "arts_13963655",
"label": "arts_140"
},
"arts_13963546": {
"type": "posts",
"id": "arts_13963546",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963546",
"score": null,
"sort": [
1725391613000
]
},
"guestAuthors": [],
"slug": "nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix",
"title": "‘Baby Reindeer’ Actress Nava Mau Found Herself in Oakland",
"publishDate": 1725391613,
"format": "standard",
"headTitle": "‘Baby Reindeer’ Actress Nava Mau Found Herself in Oakland | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. [aside postid='arts_13962898']\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” [aside postid='arts_13939974']\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Emmy nominee reflects on her ‘coming of age’ in a supportive community of queer and trans people of color. ",
"status": "publish",
"parent": 0,
"modified": 1732650952,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1364
},
"headData": {
"title": "‘Baby Reindeer’ Actress Nava Mau Found Herself in Oakland | KQED",
"description": "The Emmy nominee reflects on her ‘coming of age’ in a supportive community of queer and trans people of color. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Baby Reindeer’ Actress Nava Mau Found Herself in Oakland",
"datePublished": "2024-09-03T12:26:53-07:00",
"dateModified": "2024-11-26T11:55:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963546",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\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>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962898",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13939974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\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>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix",
"authors": [
"11934"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10278",
"arts_5442",
"arts_3324"
],
"featImg": "arts_13963550",
"label": "arts"
}
},
"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": 612,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2995,
"relation": "eq"
},
"items": [
"arts_13964057",
"arts_13963981",
"arts_13963967",
"arts_13963948",
"arts_13963828",
"arts_13963817",
"arts_13963775",
"arts_13963687",
"arts_13963659",
"arts_13959726",
"arts_13963648",
"arts_13963546"
],
"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"
},
"source_arts_13963687": {
"type": "terms",
"id": "source_arts_13963687",
"meta": {
"override": true
},
"name": "The Fandom Vote",
"link": "https://www.kqed.org/fandomvote",
"isLoading": false
},
"source_arts_13959726": {
"type": "terms",
"id": "source_arts_13959726",
"meta": {
"override": true
},
"name": "Rebel Girls",
"link": "https://www.kqed.org/rebelgirls",
"isLoading": false
},
"arts_22318": {
"type": "terms",
"id": "arts_22318",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22318",
"found": true
},
"relationships": {},
"name": "The Fandom Vote",
"slug": "the-fandom-vote",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "The Fandom Vote | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22330,
"isLoading": false,
"link": "/arts/series/the-fandom-vote"
},
"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_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_4949": {
"type": "terms",
"id": "arts_4949",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4949",
"found": true
},
"relationships": {},
"featImg": null,
"name": "election",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "election Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4961,
"slug": "election",
"isLoading": false,
"link": "/arts/tag/election"
},
"arts_22277": {
"type": "terms",
"id": "arts_22277",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22277",
"found": true
},
"relationships": {},
"name": "election 2024",
"slug": "election-2024",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "election 2024 | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22289,
"isLoading": false,
"link": "/arts/tag/election-2024"
},
"arts_22227": {
"type": "terms",
"id": "arts_22227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22227",
"found": true
},
"relationships": {},
"name": "fandomvote",
"slug": "fandomvote",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "fandomvote Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22239,
"isLoading": false,
"link": "/arts/tag/fandomvote"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_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_8126": {
"type": "terms",
"id": "arts_8126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "royal family",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "royal family Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8138,
"slug": "royal-family",
"isLoading": false,
"link": "/arts/tag/royal-family"
},
"arts_18212": {
"type": "terms",
"id": "arts_18212",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18212",
"found": true
},
"relationships": {},
"featImg": null,
"name": "royalty",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "royalty Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18224,
"slug": "royalty",
"isLoading": false,
"link": "/arts/tag/royalty"
},
"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_18570": {
"type": "terms",
"id": "arts_18570",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18570",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the royals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the royals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18582,
"slug": "the-royals",
"isLoading": false,
"link": "/arts/tag/the-royals"
},
"arts_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_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_22281": {
"type": "terms",
"id": "arts_22281",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22281",
"found": true
},
"relationships": {
"ogImgId": {
"data": {
"type": "attachments",
"id": "arts_13963291"
}
},
"twImgId": {
"data": {
"type": "attachments",
"id": "arts_13963291"
}
}
},
"name": "Fall Guide 2024",
"slug": "fall-guide-2024",
"taxonomy": "tag",
"description": "Your guide to the best concerts, exhibits, plays and movies in the Bay Area this fall.",
"featImg": null,
"headData": {
"title": "Fall Guide 2024 | KQED Arts",
"description": "Your guide to the best concerts, exhibits, plays and movies in the Bay Area this fall.",
"ogTitle": null,
"ogDescription": null,
"ogImgId": "arts_13963291",
"twTitle": null,
"twDescription": null,
"twImgId": "arts_13963291"
},
"ttid": 22293,
"isLoading": false,
"link": "/arts/tag/fall-guide-2024"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_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_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_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_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_21789": {
"type": "terms",
"id": "arts_21789",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21789",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obituary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obituary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21801,
"slug": "obituary",
"isLoading": false,
"link": "/arts/tag/obituary"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_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_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_22224": {
"type": "terms",
"id": "arts_22224",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22224",
"found": true
},
"relationships": {},
"name": "kamala harris",
"slug": "kamala-harris",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "kamala harris Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22236,
"isLoading": false,
"link": "/arts/tag/kamala-harris"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
},
"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_5221": {
"type": "terms",
"id": "arts_5221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fiction",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fiction Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5233,
"slug": "fiction",
"isLoading": false,
"link": "/arts/tag/fiction"
},
"arts_22296": {
"type": "terms",
"id": "arts_22296",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22296",
"found": true
},
"relationships": {},
"name": "nonfiction",
"slug": "nonfiction",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "nonfiction | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22308,
"isLoading": false,
"link": "/arts/tag/nonfiction"
},
"arts_22303": {
"type": "terms",
"id": "arts_22303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22303",
"found": true
},
"relationships": {},
"name": "Rebel Girls from Bay Area History",
"slug": "rebelgirls",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "Rebel Girls from Bay Area History | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22315,
"isLoading": false,
"link": "/arts/series/rebelgirls"
},
"arts_22492": {
"type": "terms",
"id": "arts_22492",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22492",
"found": true
},
"relationships": {},
"name": "Trans Bay",
"slug": "trans-bay",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "Trans Bay | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22504,
"isLoading": false,
"link": "/arts/series/trans-bay"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"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_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_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_21841": {
"type": "terms",
"id": "arts_21841",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21841",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rebelgirls",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rebelgirls Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21853,
"slug": "rebelgirls",
"isLoading": false,
"link": "/arts/tag/rebelgirls"
},
"arts_15246": {
"type": "terms",
"id": "arts_15246",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15246",
"found": true
},
"relationships": {},
"featImg": null,
"name": "action",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "action Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15258,
"slug": "action",
"isLoading": false,
"link": "/arts/tag/action"
},
"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_5442": {
"type": "terms",
"id": "arts_5442",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5442",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lgtbq",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lgtbq Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5454,
"slug": "lgtbq",
"isLoading": false,
"link": "/arts/tag/lgtbq"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
}
},
"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": {}
}
}
}