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_13961084": {
"type": "attachments",
"id": "arts_13961084",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13961084",
"found": true
},
"title": "Maika Monroe stars in ‘Longlegs.’",
"publishDate": 1720754022,
"status": "inherit",
"parent": 13961083,
"modified": 1720754119,
"caption": "Maika Monroe stars in ‘Longlegs.’",
"credit": "Neon via AP",
"altTag": "A stunned white woman wearing a blouse and FBI badge stands in front of a blood-spattered wall.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-800x478.png",
"width": 800,
"height": 478,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-1020x610.png",
"width": 1020,
"height": 610,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-160x96.png",
"width": 160,
"height": 96,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-768x459.png",
"width": 768,
"height": 459,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-1536x918.png",
"width": 1536,
"height": 918,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM-1920x1148.png",
"width": 1920,
"height": 1148,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-11-at-8.13.13-PM.png",
"width": 1940,
"height": 1160
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960855": {
"type": "attachments",
"id": "arts_13960855",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960855",
"found": true
},
"title": "Charlie Plummer and Mason Alexander Park star in 'National Anthem.’",
"publishDate": 1720629298,
"status": "inherit",
"parent": 13960850,
"modified": 1720629452,
"caption": "Charlie Plummer and Mason Alexander Park star in 'National Anthem.’",
"credit": "Variance Films via AP",
"altTag": "A young man wearing blue denim and a cowboy hat stands out on a dirt road with a gender non-conforming person wearing short bleached hair and striking makeup.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-800x524.png",
"width": 800,
"height": 524,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-1020x668.png",
"width": 1020,
"height": 668,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-160x105.png",
"width": 160,
"height": 105,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-768x503.png",
"width": 768,
"height": 503,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-1536x1006.png",
"width": 1536,
"height": 1006,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.33.54-AM.png",
"width": 1890,
"height": 1238
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960846": {
"type": "attachments",
"id": "arts_13960846",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960846",
"found": true
},
"title": "Scarlett Johansson and Channing Tatum star in ‘Fly Me to the Moon.’",
"publishDate": 1720627588,
"status": "inherit",
"parent": 13960843,
"modified": 1720627661,
"caption": "Scarlett Johansson and Channing Tatum star in ‘Fly Me to the Moon.’ ",
"credit": "Dan McFadden/Apple TV+ via AP",
"altTag": "A white woman and white man stand outdoors with a large television camera behind them. She is holding a NASA clipboard.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-800x521.png",
"width": 800,
"height": 521,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-1020x664.png",
"width": 1020,
"height": 664,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-160x104.png",
"width": 160,
"height": 104,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-768x500.png",
"width": 768,
"height": 500,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-1536x1000.png",
"width": 1536,
"height": 1000,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-10-at-9.05.05-AM.png",
"width": 1834,
"height": 1194
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960711": {
"type": "attachments",
"id": "arts_13960711",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960711",
"found": true
},
"title": "‘The Briar Club’ by Kate Quinn.",
"publishDate": 1720464298,
"status": "inherit",
"parent": 13960700,
"modified": 1720464341,
"caption": "‘The Briar Club’ by Kate Quinn. ",
"credit": "William Morrow",
"altTag": "A gold book cover with a key hole on it.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.44.31-AM-800x489.png",
"width": 800,
"height": 489,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.44.31-AM-160x98.png",
"width": 160,
"height": 98,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.44.31-AM-768x470.png",
"width": 768,
"height": 470,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.44.31-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.44.31-AM-978x576.png",
"width": 978,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.44.31-AM.png",
"width": 978,
"height": 598
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960606": {
"type": "attachments",
"id": "arts_13960606",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960606",
"found": true
},
"title": "ap20208579410612-scaled",
"publishDate": 1719855854,
"status": "inherit",
"parent": 13960599,
"modified": 1719855894,
"caption": "Minnesota Lynx players lock arms during a moment of silence in honor of Breonna Taylor before a game in July 2020.",
"credit": "Phelan M. Ebenhack/AP",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-1020x679.jpg",
"width": 1020,
"height": 679,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-768x511.jpg",
"width": 768,
"height": 511,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-1536x1022.jpg",
"width": 1536,
"height": 1022,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/ap20208579410612-scaled-1.jpg",
"width": 1920,
"height": 1278
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960569": {
"type": "attachments",
"id": "arts_13960569",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960569",
"found": true
},
"title": "Screen Shot 2024-06-28 at 2.42.44 PM",
"publishDate": 1719610992,
"status": "inherit",
"parent": 13960473,
"modified": 1719611039,
"caption": null,
"credit": "Alicia Zheng/NPR",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-800x456.png",
"width": 800,
"height": 456,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-1020x582.png",
"width": 1020,
"height": 582,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-160x91.png",
"width": 160,
"height": 91,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-768x438.png",
"width": 768,
"height": 438,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-1536x876.png",
"width": 1536,
"height": 876,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.42.44-PM.png",
"width": 1750,
"height": 998
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960463": {
"type": "attachments",
"id": "arts_13960463",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960463",
"found": true
},
"title": "Mother and daughter Janet (Julianne Nicholson) and Lacy (Zoe Ziegler) share a slow New England summer in ‘Janet Planet.’",
"publishDate": 1719596161,
"status": "inherit",
"parent": 13960462,
"modified": 1719596774,
"caption": "Mother and daughter Janet (Julianne Nicholson) and Lacy (Zoe Ziegler) share a slow New England summer in ‘Janet Planet.’",
"credit": "Courtesy of A24",
"altTag": "A middle-aged white woman sits with a young girl who is wearing glasses and looks bored.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/janet-planet-01-scaled-e1719596693658.jpeg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960384": {
"type": "attachments",
"id": "arts_13960384",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960384",
"found": true
},
"title": "Jeremy Allen White a Carmy Berzatto.",
"publishDate": 1719512026,
"status": "inherit",
"parent": 13960383,
"modified": 1719514829,
"caption": "Jeremy Allen White a Carmy Berzatto.",
"credit": "FX",
"altTag": "A white man in white t-shirt and black apron works in a kitchen, facing forward.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-800x600.jpeg",
"width": 800,
"height": 600,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-1020x765.jpeg",
"width": 1020,
"height": 765,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-160x120.jpeg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-768x576.jpeg",
"width": 768,
"height": 576,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-1536x1152.jpeg",
"width": 1536,
"height": 1152,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-2048x1536.jpeg",
"width": 2048,
"height": 1536,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006-1920x1440.jpeg",
"width": 1920,
"height": 1440,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/bear-e302-00-08-11-10-still006.jpeg",
"width": 2249,
"height": 1687
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960380": {
"type": "attachments",
"id": "arts_13960380",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960380",
"found": true
},
"title": "Lupita Nyong'o and Djimon Hounsou in ‘A Quiet Place: Day One.’",
"publishDate": 1719509216,
"status": "inherit",
"parent": 13960378,
"modified": 1719509313,
"caption": "Lupita Nyong'o and Djimon Hounsou in ‘A Quiet Place: Day One.’",
"credit": "Gareth Gatrell/Paramount Pictures via AP",
"altTag": "A Black man crouches down with his finger to his lips. Hi hand is covering the mouth of a Black woman seated in front of him. They are both covered in white dust.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-800x516.png",
"width": 800,
"height": 516,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-1020x658.png",
"width": 1020,
"height": 658,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-768x495.png",
"width": 768,
"height": 495,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-1536x991.png",
"width": 1536,
"height": 991,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-10.24.59-AM.png",
"width": 1774,
"height": 1144
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960334": {
"type": "attachments",
"id": "arts_13960334",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960334",
"found": true
},
"title": "Sean Penn stars in ‘Daddio.’",
"publishDate": 1719424208,
"status": "inherit",
"parent": 13960332,
"modified": 1719424277,
"caption": "Sean Penn stars in ‘Daddio.’",
"credit": null,
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-800x514.png",
"width": 800,
"height": 514,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1020x656.png",
"width": 1020,
"height": 656,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-768x494.png",
"width": 768,
"height": 494,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1536x988.png",
"width": 1536,
"height": 988,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-1920x1235.png",
"width": 1920,
"height": 1235,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.49.20-AM-e1719424272121.png",
"width": 1920,
"height": 1235
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960320": {
"type": "attachments",
"id": "arts_13960320",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960320",
"found": true
},
"title": "‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum.",
"publishDate": 1719363546,
"status": "inherit",
"parent": 13960317,
"modified": 1719363593,
"caption": "‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum.",
"credit": "Random House",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-25-at-5.58.21-PM-800x492.png",
"width": 800,
"height": 492,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-25-at-5.58.21-PM-160x98.png",
"width": 160,
"height": 98,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-25-at-5.58.21-PM-768x472.png",
"width": 768,
"height": 472,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-25-at-5.58.21-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-25-at-5.58.21-PM.png",
"width": 836,
"height": 514
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960037": {
"type": "attachments",
"id": "arts_13960037",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960037",
"found": true
},
"title": "Richard Roundtree and June Squibb in ‘Thelma.’",
"publishDate": 1718904693,
"status": "inherit",
"parent": 13960032,
"modified": 1718904844,
"caption": "Richard Roundtree and June Squibb in ‘Thelma.’",
"credit": "Magnolia Pictures via AP",
"altTag": "A senior white lady with white hair rides on a mobility scooter with a snappily dressed senior Black man riding on the back.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-800x537.png",
"width": 800,
"height": 537,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-1020x684.png",
"width": 1020,
"height": 684,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-768x515.png",
"width": 768,
"height": 515,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-1536x1030.png",
"width": 1536,
"height": 1030,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-10.30.43-AM.png",
"width": 1658,
"height": 1112
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13961083": {
"type": "authors",
"id": "byline_arts_13961083",
"meta": {
"override": true
},
"slug": "byline_arts_13961083",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13960850": {
"type": "authors",
"id": "byline_arts_13960850",
"meta": {
"override": true
},
"slug": "byline_arts_13960850",
"name": "Krysta Fauria, Associated Press",
"isLoading": false
},
"byline_arts_13960843": {
"type": "authors",
"id": "byline_arts_13960843",
"meta": {
"override": true
},
"slug": "byline_arts_13960843",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13960700": {
"type": "authors",
"id": "byline_arts_13960700",
"meta": {
"override": true
},
"slug": "byline_arts_13960700",
"name": "Rob Merrill, Associated Press",
"isLoading": false
},
"byline_arts_13960473": {
"type": "authors",
"id": "byline_arts_13960473",
"meta": {
"override": true
},
"slug": "byline_arts_13960473",
"name": "Meghan Collins Sullivan, Beth Novey, NPR",
"isLoading": false
},
"byline_arts_13960462": {
"type": "authors",
"id": "byline_arts_13960462",
"meta": {
"override": true
},
"slug": "byline_arts_13960462",
"name": "Justin Chang, NPR",
"isLoading": false
},
"byline_arts_13960383": {
"type": "authors",
"id": "byline_arts_13960383",
"meta": {
"override": true
},
"slug": "byline_arts_13960383",
"name": "Linda Holmes, NPR",
"isLoading": false
},
"byline_arts_13960378": {
"type": "authors",
"id": "byline_arts_13960378",
"meta": {
"override": true
},
"slug": "byline_arts_13960378",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13960332": {
"type": "authors",
"id": "byline_arts_13960332",
"meta": {
"override": true
},
"slug": "byline_arts_13960332",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13960317": {
"type": "authors",
"id": "byline_arts_13960317",
"meta": {
"override": true
},
"slug": "byline_arts_13960317",
"name": "Carole V. Bell, NPR",
"isLoading": false
},
"byline_arts_13960032": {
"type": "authors",
"id": "byline_arts_13960032",
"meta": {
"override": true
},
"slug": "byline_arts_13960032",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.403156
},
"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": 55
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 55
}
},
{
"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_13961083": {
"type": "posts",
"id": "arts_13961083",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13961083",
"score": null,
"sort": [
1720793836000
]
},
"guestAuthors": [],
"slug": "in-the-chilling-thriller-longlegs-maika-monroe-cuts-like-a-knife",
"title": "In the Chilling Thriller ‘Longlegs,’ Maika Monroe Cuts Like a Knife",
"publishDate": 1720793836,
"format": "standard",
"headTitle": "In the Chilling Thriller ‘Longlegs,’ Maika Monroe Cuts Like a Knife | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>A chilling, half-remembered encounter from childhood looms over \u003cem>Longlegs\u003c/em>, Osgood Perkins’ stylishly composed 1990s-set horror film about a young FBI agent (Maika Monroe) whose past seems to hold a key to a decades-long serial killer suburban spree.\u003c/p>\n\u003cp>[aside postid='arts_13960378']In the opening flashback scene of \u003cem>Longlegs\u003c/em>, a young girl walks out of her house to meet a stranger on her snow-covered yard. We never see more than the bottom half of his face, but the sense of creepiness is overwhelming. The image, with a scream, cuts out before \u003cem>Longlegs\u003c/em> properly gets underway.\u003c/p>\n\u003cp>Twenty five years later, that girl (Monroe’s Lee Harker) is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OG7wOTE8NhE\u003c/p>\n\u003cp>\u003cem>Longlegs\u003c/em>, is arriving on its own wave of mystery thanks to a lengthy, enigmatic marketing campaign. Is the buzz warranted? That may depend on your tolerance for a very serious procedural that’s extremely adept at building an ominous slow burn yet nevertheless leads to a pile-up of horror tropes: satanic worship, scary dolls and an outlandish Nicolas Cage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a credit to the harrowingly spell-binding first half of\u003cem> Longlegs\u003c/em> — and to Monroe — that the film’s third act disappoints. After that prologue — presented in a boxy ratio with rounded edges, as if seen through an overhead projector — the screen widens. Harker, a terse, solitary detective, is part of a large task force to track down the killer behind the deaths of 10 families over the course of 30 years. Sent to knock on doors, she gazes up at a second floor window and knows immediately. “It’s that one,” she tells a partner (Dakota Daulby) whose lack of faith in her intuition quickly proves regrettable.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>[aside postid='arts_13872372']Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Osgood Perkins’ harrowingly spell-binding serial killer movie lets Nicolas Cage run wild as an elusive boogeyman.",
"status": "publish",
"parent": 0,
"modified": 1720754302,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 840
},
"headData": {
"title": "‘Longlegs’ Review: Maika Monroe Stuns in New Serial Killer Flick | KQED",
"description": "Osgood Perkins’ harrowingly spell-binding serial killer movie lets Nicolas Cage run wild as an elusive boogeyman.",
"ogTitle": "In the Chilling Thriller ‘Longlegs,’ Maika Monroe Cuts Like a Knife",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In the Chilling Thriller ‘Longlegs,’ Maika Monroe Cuts Like a Knife",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Longlegs’ Review: Maika Monroe Stuns in New Serial Killer Flick %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In the Chilling Thriller ‘Longlegs,’ Maika Monroe Cuts Like a Knife",
"datePublished": "2024-07-12T07:17:16-07:00",
"dateModified": "2024-07-11T20:18:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13961083/in-the-chilling-thriller-longlegs-maika-monroe-cuts-like-a-knife",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A chilling, half-remembered encounter from childhood looms over \u003cem>Longlegs\u003c/em>, Osgood Perkins’ stylishly composed 1990s-set horror film about a young FBI agent (Maika Monroe) whose past seems to hold a key to a decades-long serial killer suburban spree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960378",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In the opening flashback scene of \u003cem>Longlegs\u003c/em>, a young girl walks out of her house to meet a stranger on her snow-covered yard. We never see more than the bottom half of his face, but the sense of creepiness is overwhelming. The image, with a scream, cuts out before \u003cem>Longlegs\u003c/em> properly gets underway.\u003c/p>\n\u003cp>Twenty five years later, that girl (Monroe’s Lee Harker) is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.\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/OG7wOTE8NhE'\n title='//www.youtube.com/embed/OG7wOTE8NhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Longlegs\u003c/em>, is arriving on its own wave of mystery thanks to a lengthy, enigmatic marketing campaign. Is the buzz warranted? That may depend on your tolerance for a very serious procedural that’s extremely adept at building an ominous slow burn yet nevertheless leads to a pile-up of horror tropes: satanic worship, scary dolls and an outlandish Nicolas Cage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a credit to the harrowingly spell-binding first half of\u003cem> Longlegs\u003c/em> — and to Monroe — that the film’s third act disappoints. After that prologue — presented in a boxy ratio with rounded edges, as if seen through an overhead projector — the screen widens. Harker, a terse, solitary detective, is part of a large task force to track down the killer behind the deaths of 10 families over the course of 30 years. Sent to knock on doors, she gazes up at a second floor window and knows immediately. “It’s that one,” she tells a partner (Dakota Daulby) whose lack of faith in her intuition quickly proves regrettable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959693",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13872372",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13961083/in-the-chilling-thriller-longlegs-maika-monroe-cuts-like-a-knife",
"authors": [
"byline_arts_13961083"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5087",
"arts_769",
"arts_585",
"arts_11718"
],
"featImg": "arts_13961084",
"label": "arts_140"
},
"arts_13960850": {
"type": "posts",
"id": "arts_13960850",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960850",
"score": null,
"sort": [
1720636979000
]
},
"guestAuthors": [],
"slug": "luke-gilford-takes-you-on-a-journey-to-the-queer-rodeo-in-national-anthem",
"title": "Luke Gilford Takes You on a Journey to the Queer Rodeo in ‘National Anthem’",
"publishDate": 1720636979,
"format": "standard",
"headTitle": "Luke Gilford Takes You on a Journey to the Queer Rodeo in ‘National Anthem’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>If \u003cem>Barbie\u003c/em> (and Cormac McCarthy) taught us anything, it’s that few symbols herald straight hypermasculinity quite like horses do.\u003c/p>\n\u003cp>Perhaps that’s why queer cowboy stories have endured in Hollywood — one way to make a love story interesting after all is by making it subversive or forbidden.\u003c/p>\n\u003cp>[aside postid='arts_13959918']Luke Gilford’s \u003cem>National Anthem\u003c/em> sits within that tradition of films. But it also doesn’t.\u003c/p>\n\u003cp>It’s true that 21-year-old Dylan (a phenomenal Charlie Plummer) has not been raised in an environment that celebrates or is even open to his sexuality. As a poor construction worker in the American Southwest and father figure to his younger brother, Dylan mostly stays quiet and keeps his head down when his mother (Robyn Lively) and co-workers scoff in disgust or make jokes about him being gay.\u003c/p>\n\u003cp>Although \u003cem>National Anthem\u003c/em> is indeed a story about star-crossed lovers, it is also, more importantly, a coming-of-age exploration of what it means for a person to find community and a place to belong. It also poignantly asks how much autonomy we have in that pursuit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In it, Dylan is pressured by his mom to take on more work in order to support their cash-strapped family. He happens to find it at a ranch unlike anything he’s ever seen — a queer community of rodeo performers living together in what seems like an idyllic oasis free from the repressive constraints of the outside world.\u003c/p>\n\u003cp>Almost nothing is said about each person’s sexuality or gender identity — it doesn’t need to be in a place like this, where fluidity and a rejection of norms is assumed.\u003c/p>\n\u003cp>Dylan, perhaps for the first time, begins to consider what his own gender performance could look like if he were not inhibited by society’s expectations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8&t=21s\u003c/p>\n\u003cp>The young construction worker is captivated by everyone’s strong sense of identity and the camaraderie that exists within the nameless group. He almost immediately sparks a romance with the enigmatic and free-spirited Sky (Eve Lindley), but their relationship is complicated by Sky’s existing open partnership with Pepe, the group’s leader.\u003c/p>\n\u003cp>[aside postid='arts_13960471']Cinematographer Katelin Arizmendi artfully cultivates a sense of wonder and awe at the landscape that’s almost its own character in the story. She also gives the film an inkling of surrealism, which heightens Dylan’s dreamlike stupor as he is swept up in this intoxicating romance.\u003c/p>\n\u003cp>When Dylan goes to his first rodeo with the group, a montage of majestic scenes that scream America — reminiscent of a Budweiser commercial — floods his gaze. But peppered in with the shots of bulls, horses and rugged landscapes are sights of queer romance, pride flags and drag queens touching up their makeup.\u003c/p>\n\u003cp>Although he finds a newfound freedom and acceptance here, the strain on his relationship with Sky forces Dylan to grapple with where he belongs — is it within the community or with his younger brother and struggling alcoholic mother?\u003c/p>\n\u003cp>Dylan’s family backstory is frustratingly under-developed, often relied on as a crutch to show that his life is difficult but never expounded upon or resolved in a satisfactory way. His absent father is referenced throughout, but it is unclear what impact, if any, this absence was meant to have had on him.\u003c/p>\n\u003cp>[aside postid='arts_13956604']Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Gilford, the son of a rodeo rider, has a deep personal connection to his thoughtful feature directorial debut.",
"status": "publish",
"parent": 0,
"modified": 1726701016,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 726
},
"headData": {
"title": "‘National Anthem’ Is a Poignant Journey to the Gay Rodeo | KQED",
"description": "Gilford, the son of a rodeo rider, has a deep personal connection to his thoughtful feature directorial debut.",
"ogTitle": "Luke Gilford Takes You on a Trip to the Queer Rodeo in ‘National Anthem’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Luke Gilford Takes You on a Trip to the Queer Rodeo in ‘National Anthem’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘National Anthem’ Is a Poignant Journey to the Gay Rodeo %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Luke Gilford Takes You on a Journey to the Queer Rodeo in ‘National Anthem’",
"datePublished": "2024-07-10T11:42:59-07:00",
"dateModified": "2024-09-18T16:10:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Krysta Fauria, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960850/luke-gilford-takes-you-on-a-journey-to-the-queer-rodeo-in-national-anthem",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If \u003cem>Barbie\u003c/em> (and Cormac McCarthy) taught us anything, it’s that few symbols herald straight hypermasculinity quite like horses do.\u003c/p>\n\u003cp>Perhaps that’s why queer cowboy stories have endured in Hollywood — one way to make a love story interesting after all is by making it subversive or forbidden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959918",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Luke Gilford’s \u003cem>National Anthem\u003c/em> sits within that tradition of films. But it also doesn’t.\u003c/p>\n\u003cp>It’s true that 21-year-old Dylan (a phenomenal Charlie Plummer) has not been raised in an environment that celebrates or is even open to his sexuality. As a poor construction worker in the American Southwest and father figure to his younger brother, Dylan mostly stays quiet and keeps his head down when his mother (Robyn Lively) and co-workers scoff in disgust or make jokes about him being gay.\u003c/p>\n\u003cp>Although \u003cem>National Anthem\u003c/em> is indeed a story about star-crossed lovers, it is also, more importantly, a coming-of-age exploration of what it means for a person to find community and a place to belong. It also poignantly asks how much autonomy we have in that pursuit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In it, Dylan is pressured by his mom to take on more work in order to support their cash-strapped family. He happens to find it at a ranch unlike anything he’s ever seen — a queer community of rodeo performers living together in what seems like an idyllic oasis free from the repressive constraints of the outside world.\u003c/p>\n\u003cp>Almost nothing is said about each person’s sexuality or gender identity — it doesn’t need to be in a place like this, where fluidity and a rejection of norms is assumed.\u003c/p>\n\u003cp>Dylan, perhaps for the first time, begins to consider what his own gender performance could look like if he were not inhibited by society’s expectations.\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young construction worker is captivated by everyone’s strong sense of identity and the camaraderie that exists within the nameless group. He almost immediately sparks a romance with the enigmatic and free-spirited Sky (Eve Lindley), but their relationship is complicated by Sky’s existing open partnership with Pepe, the group’s leader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960471",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Cinematographer Katelin Arizmendi artfully cultivates a sense of wonder and awe at the landscape that’s almost its own character in the story. She also gives the film an inkling of surrealism, which heightens Dylan’s dreamlike stupor as he is swept up in this intoxicating romance.\u003c/p>\n\u003cp>When Dylan goes to his first rodeo with the group, a montage of majestic scenes that scream America — reminiscent of a Budweiser commercial — floods his gaze. But peppered in with the shots of bulls, horses and rugged landscapes are sights of queer romance, pride flags and drag queens touching up their makeup.\u003c/p>\n\u003cp>Although he finds a newfound freedom and acceptance here, the strain on his relationship with Sky forces Dylan to grapple with where he belongs — is it within the community or with his younger brother and struggling alcoholic mother?\u003c/p>\n\u003cp>Dylan’s family backstory is frustratingly under-developed, often relied on as a crutch to show that his life is difficult but never expounded upon or resolved in a satisfactory way. His absent father is referenced throughout, but it is unclear what impact, if any, this absence was meant to have had on him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956604",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960850/luke-gilford-takes-you-on-a-journey-to-the-queer-rodeo-in-national-anthem",
"authors": [
"byline_arts_13960850"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_3226",
"arts_769",
"arts_22111",
"arts_585"
],
"featImg": "arts_13960855",
"label": "arts_140"
},
"arts_13960843": {
"type": "posts",
"id": "arts_13960843",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960843",
"score": null,
"sort": [
1720628108000
]
},
"guestAuthors": [],
"slug": "scarlett-johansson-lends-star-power-to-earthbound-fly-me-to-the-moon",
"title": "Scarlett Johansson Lends Star Power to Earthbound ‘Fly Me to the Moon’",
"publishDate": 1720628108,
"format": "standard",
"headTitle": "Scarlett Johansson Lends Star Power to Earthbound ‘Fly Me to the Moon’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is better than it looks.\u003c/p>\n\u003cp>This is not a slam against the marketing campaign for the space race rom-com about a straight-laced NASA man and the Madison Avenue marketing savant brought in to sell the mission to the moon. It’s more about the state of theatrical moviegoing.\u003c/p>\n\u003cp>A film like this, with legitimate movie stars in Scarlett Johansson and Channing Tatum, a slick, glossy look, an original concept, and a sparkling title, is not a commonly occurring phenomenon at the local cineplex. We’ve been conditioned to see something like this and assume one of two things: It’s the product of a high-spending streamer, or it’s fake, like one of those movies-within-a-movie that’s mostly there for laughs but also at least somewhat plausible.\u003c/p>\n\u003cp>[aside postid='arts_13960462']Both assumptions are on point, but the former is essentially true: This is an Apple production that like \u003cem>Napoleon\u003c/em> and \u003cem>Killers of the Flower Moon\u003c/em> is going to theaters first, on Friday, through a traditional studio (Sony’s Columbia Pictures). It’s not just a gesture to theaters either — its streaming date has yet to even be announced.\u003c/p>\n\u003cp>The director is television veteran Greg Berlanti, whose films include \u003cem>Love, Simon\u003c/em> and \u003cem>Life as We Know It\u003c/em>. Here he seems to have taken a stylistic and tonal page from Peyton Reed’s \u003cem>Down with Love\u003c/em>, that 1960s via 2003 Rock Hudson/Doris Day pastiche starring Renée Zellweger and Ewan McGregor. The script, by Rose Gilroy and story, by Bill Kirstein and Keenan Flynn, is lighthearted and breezy with a pleasing screwball energy, giving Johansson the opportunity to use the full wattage of her movie star power as the shrewd, self-made Kelly Jones. She’s a kind of female Don Draper minus the melancholy and dalliances, but with some secret baggage and the ability to charm and persuade just about anyone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>If you make it past the opening montage, a cringey history lesson that has all the depth and nuance of a half-page, single-space elementary school report on the space race, you’re in for a mostly pleasant, if meandering, ride compliments of Johansson, who produced, Tatum and a talented roster of supporting actors (Woody Harrelson, Ray Romano, Jim Rash).\u003c/p>\n\u003cp>Tatum might be a little miscast as the NASA launch director (and Korean War vet) Cole Davis. Though he is a good match for Johansson and the bevy of knit sweaters he sports throughout, his portrayal makes Cole too instantly likeable for there to be any sort of dramatic stakes or tension. Whether this was a miscalculation on the script level, the direction or the casting is hard to say. But there is no will-they-won’t-they, only when-will-they, which is not compelling storytelling when your runtime stretches over two hours.\u003c/p>\n\u003cp>This is a movie that is in no rush to get anywhere fast. In fact, the main selling point of the trailer, that Kelly has been hired to stage a fake moon landing in case anything goes wrong with Apollo 11, isn’t even introduced until deep into the film. It’s not the point of the story at all, just an aspect of it, which is a little disorienting during a first-time viewing.\u003c/p>\n\u003cp>[aside postid='arts_13960332']Rash, as a diva director-for-hire for this top-secret film project, makes these scenes very funny (although the recurring Kubrick jokes fall flat). Most attempts to reference the era beyond the great costuming and production design are also quite superficial — it’s a kind of rose-colored-glasses version of the late 1960s in which racism and homophobia are practically nonexistent. Misogyny and former President Richard Nixon are punchlines and tolerable nuisances.\u003c/p>\n\u003cp>Another blunder was spending too much time with the Apollo 11 astronauts, down to the obligatory launch — a sequence that we’ve seen so many times and so much more effectively that there is little to be gained in clumsily shoehorning it in this kind of film. It’s just an expensive distraction, grasping at grandeur that it didn’t really need.\u003c/p>\n\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch \u003cem>Hail, Caesar!\u003c/em>) as a modern Day and Hudson. They have the charm. They just need material that does it justice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fly Me to the Moon’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The new movie sells the idea of Scarlett Johansson and Channing Tatum as a modern Doris Day and Rock Hudson — and it works.",
"status": "publish",
"parent": 0,
"modified": 1720628108,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 796
},
"headData": {
"title": "‘Fly Me to the Moon’ Is Slick, Charming With Plenty of Star Power | KQED",
"description": "The new movie sells the idea of Scarlett Johansson and Channing Tatum as a modern Doris Day and Rock Hudson — and it works.",
"ogTitle": "Scarlett Johansson Lends Star Power to Earthbound ‘Fly Me to the Moon’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Scarlett Johansson Lends Star Power to Earthbound ‘Fly Me to the Moon’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Fly Me to the Moon’ Is Slick, Charming With Plenty of Star Power %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Scarlett Johansson Lends Star Power to Earthbound ‘Fly Me to the Moon’",
"datePublished": "2024-07-10T09:15:08-07:00",
"dateModified": "2024-07-10T09:15:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13960843",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960843/scarlett-johansson-lends-star-power-to-earthbound-fly-me-to-the-moon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is better than it looks.\u003c/p>\n\u003cp>This is not a slam against the marketing campaign for the space race rom-com about a straight-laced NASA man and the Madison Avenue marketing savant brought in to sell the mission to the moon. It’s more about the state of theatrical moviegoing.\u003c/p>\n\u003cp>A film like this, with legitimate movie stars in Scarlett Johansson and Channing Tatum, a slick, glossy look, an original concept, and a sparkling title, is not a commonly occurring phenomenon at the local cineplex. We’ve been conditioned to see something like this and assume one of two things: It’s the product of a high-spending streamer, or it’s fake, like one of those movies-within-a-movie that’s mostly there for laughs but also at least somewhat plausible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960462",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Both assumptions are on point, but the former is essentially true: This is an Apple production that like \u003cem>Napoleon\u003c/em> and \u003cem>Killers of the Flower Moon\u003c/em> is going to theaters first, on Friday, through a traditional studio (Sony’s Columbia Pictures). It’s not just a gesture to theaters either — its streaming date has yet to even be announced.\u003c/p>\n\u003cp>The director is television veteran Greg Berlanti, whose films include \u003cem>Love, Simon\u003c/em> and \u003cem>Life as We Know It\u003c/em>. Here he seems to have taken a stylistic and tonal page from Peyton Reed’s \u003cem>Down with Love\u003c/em>, that 1960s via 2003 Rock Hudson/Doris Day pastiche starring Renée Zellweger and Ewan McGregor. The script, by Rose Gilroy and story, by Bill Kirstein and Keenan Flynn, is lighthearted and breezy with a pleasing screwball energy, giving Johansson the opportunity to use the full wattage of her movie star power as the shrewd, self-made Kelly Jones. She’s a kind of female Don Draper minus the melancholy and dalliances, but with some secret baggage and the ability to charm and persuade just about anyone.\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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you make it past the opening montage, a cringey history lesson that has all the depth and nuance of a half-page, single-space elementary school report on the space race, you’re in for a mostly pleasant, if meandering, ride compliments of Johansson, who produced, Tatum and a talented roster of supporting actors (Woody Harrelson, Ray Romano, Jim Rash).\u003c/p>\n\u003cp>Tatum might be a little miscast as the NASA launch director (and Korean War vet) Cole Davis. Though he is a good match for Johansson and the bevy of knit sweaters he sports throughout, his portrayal makes Cole too instantly likeable for there to be any sort of dramatic stakes or tension. Whether this was a miscalculation on the script level, the direction or the casting is hard to say. But there is no will-they-won’t-they, only when-will-they, which is not compelling storytelling when your runtime stretches over two hours.\u003c/p>\n\u003cp>This is a movie that is in no rush to get anywhere fast. In fact, the main selling point of the trailer, that Kelly has been hired to stage a fake moon landing in case anything goes wrong with Apollo 11, isn’t even introduced until deep into the film. It’s not the point of the story at all, just an aspect of it, which is a little disorienting during a first-time viewing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Rash, as a diva director-for-hire for this top-secret film project, makes these scenes very funny (although the recurring Kubrick jokes fall flat). Most attempts to reference the era beyond the great costuming and production design are also quite superficial — it’s a kind of rose-colored-glasses version of the late 1960s in which racism and homophobia are practically nonexistent. Misogyny and former President Richard Nixon are punchlines and tolerable nuisances.\u003c/p>\n\u003cp>Another blunder was spending too much time with the Apollo 11 astronauts, down to the obligatory launch — a sequence that we’ve seen so many times and so much more effectively that there is little to be gained in clumsily shoehorning it in this kind of film. It’s just an expensive distraction, grasping at grandeur that it didn’t really need.\u003c/p>\n\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch \u003cem>Hail, Caesar!\u003c/em>) as a modern Day and Hudson. They have the charm. They just need material that does it justice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fly Me to the Moon’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960843/scarlett-johansson-lends-star-power-to-earthbound-fly-me-to-the-moon",
"authors": [
"byline_arts_13960843"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5426",
"arts_6228",
"arts_769",
"arts_585"
],
"featImg": "arts_13960846",
"label": "arts_140"
},
"arts_13960700": {
"type": "posts",
"id": "arts_13960700",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960700",
"score": null,
"sort": [
1720464425000
]
},
"guestAuthors": [],
"slug": "kate-quinn-returns-with-the-briar-club-a-murder-mystery-during-the-1950s-red-scare",
"title": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare",
"publishDate": 1720464425,
"format": "aside",
"headTitle": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare | KQED",
"labelTerm": {},
"content": "\u003cfigure id=\"attachment_13960704\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png\" alt=\"A book cover with a key hole on it.\" width=\"840\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-800x1154.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-768x1108.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Briar Club’ by Kate Quinn. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve never read a Kate Quinn novel, there’s no time like the present. Or like the 1950s in Washington, D.C. That’s the setting for Quinn’s \u003cem>The Briar Club\u003c/em>, which is a murder mystery wrapped up in the stories of multiple women who rent rooms at a boarding house during the height of Sen. Joseph McCarthy’s Red Scare.\u003c/p>\n\u003cp>The characters are all interesting, but too numerous to sketch in this short review. Each gives Quinn an opportunity to comment on some aspect of the decade — from the development of the birth control pill, to organized crime corrupting the D.C. police force, to the demise of a professional women’s softball league after World War II. All the women’s stories serve the novel’s greater plot, which opens with a murder in the house on Thanksgiving Day in 1954. It then flips backward and forward in time, crashing the characters together and creating plenty of suspects before ending with a delightful twist.\u003c/p>\n\u003cp>[aside postid='arts_13960473']At the center of the plot is Grace March, who moves into the third-floor attic of the Briarwood boarding house and, over the objections of the stern landlady, Mrs. Nilsson, begins to make the place a real home. She paints flowers and vines on her ceiling that eventually creep down the staircase and are a metaphor for the role Grace plays in the boarders’ lives. She starts a Thursday night Supper Club, inviting everyone to bring a dish to warm up on her hot plate and share.\u003c/p>\n\u003cp>Quinn tosses in a couple cute wrinkles that make the book even more fun. One is the inclusion of actual recipes for the dishes and drinks the women bring to supper club. In promotional interviews in advance of the novel’s release, Quinn admitted that her husband actually prepared all the food and drink for her to taste prior to publication. Also unique to the novel — short chapters written from the point of view of the house itself. As a detective moves to split up the the women for interrogation following the Thanksgiving day murder, Quinn writes: “He moves into the kitchen, at once the object of all eyes, and just to be spiteful the house rucks the edge of the carpet so he trips.”\u003c/p>\n\u003cp>It all makes for a delightful read. Quinn creates characters readers will care about and root for, while also managing to keep them guessing until the very end about who murdered whom in Briarwood House.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Briar Club’ by Kate Quinn is out on July 9, 2024, via William Morrow.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Quinn has created a compelling mystery full of characters that readers will care about and root for.",
"status": "publish",
"parent": 0,
"modified": 1726701055,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 463
},
"headData": {
"title": "Book Review: ‘The Briar Club’ by Kate Quinn | KQED",
"description": "Quinn has created a compelling mystery full of characters that readers will care about and root for.",
"ogTitle": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘The Briar Club’ by Kate Quinn %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kate Quinn Returns With ‘The Briar Club,’ a Murder Mystery During the 1950’s Red Scare",
"datePublished": "2024-07-08T11:47:05-07:00",
"dateModified": "2024-09-18T16:10:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"nprByline": "Rob Merrill, Associated Press",
"nprStoryId": "kqed-13960700",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960700/kate-quinn-returns-with-the-briar-club-a-murder-mystery-during-the-1950s-red-scare",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960704\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png\" alt=\"A book cover with a key hole on it.\" width=\"840\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-800x1154.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-08-at-11.35.53-AM-768x1108.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Briar Club’ by Kate Quinn. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve never read a Kate Quinn novel, there’s no time like the present. Or like the 1950s in Washington, D.C. That’s the setting for Quinn’s \u003cem>The Briar Club\u003c/em>, which is a murder mystery wrapped up in the stories of multiple women who rent rooms at a boarding house during the height of Sen. Joseph McCarthy’s Red Scare.\u003c/p>\n\u003cp>The characters are all interesting, but too numerous to sketch in this short review. Each gives Quinn an opportunity to comment on some aspect of the decade — from the development of the birth control pill, to organized crime corrupting the D.C. police force, to the demise of a professional women’s softball league after World War II. All the women’s stories serve the novel’s greater plot, which opens with a murder in the house on Thanksgiving Day in 1954. It then flips backward and forward in time, crashing the characters together and creating plenty of suspects before ending with a delightful twist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960473",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the plot is Grace March, who moves into the third-floor attic of the Briarwood boarding house and, over the objections of the stern landlady, Mrs. Nilsson, begins to make the place a real home. She paints flowers and vines on her ceiling that eventually creep down the staircase and are a metaphor for the role Grace plays in the boarders’ lives. She starts a Thursday night Supper Club, inviting everyone to bring a dish to warm up on her hot plate and share.\u003c/p>\n\u003cp>Quinn tosses in a couple cute wrinkles that make the book even more fun. One is the inclusion of actual recipes for the dishes and drinks the women bring to supper club. In promotional interviews in advance of the novel’s release, Quinn admitted that her husband actually prepared all the food and drink for her to taste prior to publication. Also unique to the novel — short chapters written from the point of view of the house itself. As a detective moves to split up the the women for interrogation following the Thanksgiving day murder, Quinn writes: “He moves into the kitchen, at once the object of all eyes, and just to be spiteful the house rucks the edge of the carpet so he trips.”\u003c/p>\n\u003cp>It all makes for a delightful read. Quinn creates characters readers will care about and root for, while also managing to keep them guessing until the very end about who murdered whom in Briarwood House.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Briar Club’ by Kate Quinn is out on July 9, 2024, via William Morrow.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960700/kate-quinn-returns-with-the-briar-club-a-murder-mystery-during-the-1950s-red-scare",
"authors": [
"byline_arts_13960700"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_10772",
"arts_5221",
"arts_769",
"arts_585"
],
"featImg": "arts_13960711",
"label": "source_arts_13960700"
},
"arts_13960599": {
"type": "posts",
"id": "arts_13960599",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960599",
"score": null,
"sort": [
1719855930000
]
},
"guestAuthors": [],
"slug": "wnba-documentary-highlights-off-court-player-activism",
"title": "New WNBA Documentary Highlights Off-Court Player Activism",
"publishDate": 1719855930,
"format": "standard",
"headTitle": "New WNBA Documentary Highlights Off-Court Player Activism | KQED",
"labelTerm": {
"term": 10778,
"site": "arts"
},
"content": "\u003cp>Know how you can tell if women’s sports has finally broken into the American mainstream consciousness? When your 82-year-old grandmother-in-law tells you, “They’ve been showing a lot more girls basketball on television these days.”\u003c/p>\n\u003cp>With viewership for women’s basketball at an all-time high, \u003cem>Power of the Dream\u003c/em> — Amazon’s new documentary directed by Dawn Porter that highlights the WNBA’s fight for equity and representation — arrives at an apex moment.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13957833']\u003c/span>Offering a candid look into the off-court activism of WNBAers during the COVID-ravaged 2020 season — as players mourn the loss of Black lives due to police violence and get involved in the Georgia senatorial race — the film isn’t what you’d expect from a basketball joint. There’s virtually no dribbling in it, and very little action about the sport itself. (Perhaps that’s communicated in the title, which is more poetic than it is athletic).\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='news_11986061']\u003c/span>And yet, this isn’t a polished look at the league’s imperviousness. It’s about the ugliness of pro sports in America: the struggles that even the world’s most successful, elite basketballers face, their battles to impact greater social change, and their sacrifices to improve conditions for marginalized communities, all while juggling their own needs that aren’t being met as a unionized workforce of 144 employees.\u003c/p>\n\u003cp>With a mix of news clips, original documentary footage, and interviews with notable sports journalists and WNBA icons (including Angel McCoughtry, Layshia Clarendon, and Elizabeth Williams), the film shows multiple dimensions of player-led change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rather than glorifying the WNBA’s public image (the film shows when the league misstepped by fining players for their social actions), the camera zooms in on players in genuine states of vulnerability and uncertainty — if not utter frustration — as they coordinate to stand up for their core beliefs. It helps that two of the featured athletes, Nneka Ogwumike and Sue Bird, widely considered to be among the best women hoopers of their generations, are behind the film’s production. The documentary shines brightest in moments that feel intimate: windows of genuine urgency and (figurative) locker room access that can be gained when the players themselves have a hand in the making.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff9%2F2d%2F0cec4df04f95a4e71957bbae31a2%2Fpotd-2024-fg-00070503-still018-3000.jpg\" alt=\"Layshia Clarendon in Power of the Dream.\">\u003cfigcaption>Layshia Clarendon in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the film asks: What responsibilities do modern professional athletes have? How do those responsibilities evolve, shift and deepen when layered with issues of gender, race and economics? And how do high-achieving humans respond when their dreams are challenged and interrupted?\u003c/p>\n\u003ch3>A legacy of WNBActivism\u003c/h3>\n\u003cp>\u003cem>Power of the Dream\u003c/em> constructs a framework beginning with the opening scene, when a group key players prepare to discuss their political views on live television while wearing black T-shirts that read “ARREST THE COPS WHO KILLED BREONNA TAYLOR” and “SAY HER NAME.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13956931']\u003c/span>From the outset, the film provides a microhistory on the legacy of social advocacy among WNBA players — despite being fined, targeted and criticized by league officials, media and fans. In 2016, the Minnesota Lynx drew ire from the Minnesota Police Department after members of the team spoke out against the killing of Philando Castile in nearby Falcon Heights. The team’s franchise player and four-time WNBA champion, Maya Moore, became the face of the player-led protests. The boldness of the Lynx — who, at the time, were the WNBA’s version of Michael Jordan’s Chicago Bulls of the ‘90s — initiated a chain of protests in the sports world culminating with Colin Kaepernick’s infamous NFL kneel later that year.\u003c/p>\n\u003cp>Moore would eventually take her fight for justice further, stepping away from basketball in 2019 to dedicate time towards freeing a wrongly convicted man (Jonathan Irons, her now-husband), and eventually retiring to fully pursue social justice causes. Moore’s story isn’t brand new, but, through the insights of journalists like Jemele Hill, the documentary argues that the magnitude of Moore’s actions haven’t been fully grasped yet. Her work is positioned as a reflection of the WNBA’s larger ethos of compassion in ways that are rarely seen in other major leagues.\u003c/p>\n\u003cp>https://twitter.com/sportsiren/status/1298883521327566854\u003c/p>\n\u003cp>Moore isn’t the only WNBA luminary who has risked her own neck to do the right thing. Much of the documentary focuses on the coordinated efforts of the league’s players at the height of the 2020 “Wubble.”\u003c/p>\n\u003cp>With the murders of Breonna Taylor and, months later, George Floyd, the league’s biggest stars take a unified stand. With televised games scheduled to air, they collectively refuse to compete as usual, instead gathering on the lawn of IMG Academy in Bradenton, Fla. — where their shortened, quarantined season took place — to hold a vigil. Every single WNBA player was in attendance. It’s among the most moving things you’ll ever see in professional sports. Imagine any other league pulling that off.\u003c/p>\n\u003cp>Holly Rowe, an ESPN reporter who was assigned to cover the WNBA’s COVID season, says in the documentary that those WNBA players embodied the most politicized group of pro athletes in U.S. history. These weren’t just individuals sharing comments on social media, or outliers spewing out-of-context, post-game press conference soundbites — it was a tactical, organized assemblage of the league’s entirety speaking out as one. And they sustained it throughout the whole season.\u003c/p>\n\u003ch3>Labor politics in the “W”\u003c/h3>\n\u003cp>For the uninitiated WNBA newbie, \u003cem>Power of the Dream \u003c/em>is an introduction to the players’ collaborative capacity for change. Indeed, the WNBA offers a case study in labor organizing that arguably no other major sports league in America can.\u003c/p>\n\u003cp>Ogwumike — a league stalwart, Stanford alumni and former No. 1 pick in the 2012 WNBA Draft — helmed the Women’s National Basketball Players Association during pivotal contract negotiations in 2019 and 2020.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2F1b%2F837c76334846b66a009e79796113%2Fpotd-2024-fg-00011210-still002-3000.jpg\" alt=\"Nneka Ogwumike featured in Power of the Dream.\">\u003cfigcaption>Nneka Ogwumike featured in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers show Ogwumike and her colleagues strategizing, and then, like a fastbreak on the open court, coming up big. They \u003ca href=\"https://www.wnba.com/news/wnba-and-wnbpa-reach-tentative-agreement-on-groundbreaking-eight-year-collective-bargaining-agreement\">secured an unprecedented 53% salary increase and paid maternity leave\u003c/a>, among the largest, most progressive overhauls in U.S. sports bargaining history. (There’s still a long way to go: The WNBA’s top-paid stars will make around $250,000 in salaries this year; just a fraction of the NBA’s \u003cem>minimum \u003c/em>pay of over $1 million.)\u003c/p>\n\u003cp>The WNBA players’ victory, though a subplot in the film, serves a narrative function: it lays the groundwork for legitimizing the WNBA’s relentless efforts for improving conditions on multiple fronts — forming one spear tip in their multi-pronged demand for change that eventually reaches Congress.\u003c/p>\n\u003ch3>The Georgia U.S. Senate race\u003c/h3>\n\u003cp>The WNBA’s Atlanta Dream franchise — named after Dr. Martin Luther King’s timeless monologue — is the climactic end point of the documentary (see: \u003cem>Power of the \u003c/em>Dream\u003cem>)\u003c/em>. Though the filmmakers choose to explore league-wide issues plaguing athletes on various teams leading up to that moment, the overall exposition ultimately funnels towards Atlanta.\u003c/p>\n\u003cp>Amid the social turmoil of the 2020 season, Atlanta’s then-majority-owner, Republican Sen. Kelly Loeffler (who declined to be interviewed for the documentary) became a major source of disruption for the players when she discredited the WNBA’s women for their support of Black Lives Matter.\u003c/p>\n\u003cp>As the 2020 elections unfolded in Georgia, Loeffler was favored to win in a crucial Senate race as the incumbent candidate. WNBA players, once again, made history: they openly denounced Loeffler by strategically rallying around her opponent, Rev. Raphael Warnock.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6f%2F20%2F0209a93847d99a01a79d7ae9af69%2Fpotd-2024-fg-00041411-still011-3000.jpg\" alt=\"Sue Bird featured in the new documentary Power of the Dream.\">\u003cfigcaption>Sue Bird featured in the new documentary \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warnock held only 9% of voter support before the WNBA’s involvement, and the documentary positions the players’ support as crucial to his win. In the film, Warnock (the only male subject) largely credits the WNBA for his unprecedented victory, becoming Georgia’s first-ever Black senator. He remains in office.\u003c/p>\n\u003cp>Despite her monumental success on and off the court, Bird still grapples with the larger question of pro athletes’ responsibilities, and whether or not they should even exert their social and political influence at such a high level. It’s not lost on her, and her peers, that in order to make change for their communities, they must also do the work. For these players, that meant talking with family members and figures like Michelle Obama, getting involved with organizations like “Say Her Name,” doing research on candidates, and actually meeting Warnock before they officially endorsed him. Those duties are certainly not listed on the job description for a WNBA player — or any top-level athlete, for that matter.\u003c/p>\n\u003cp>“It’s never just been about basketball for us,” Bird says on camera. And for this particular group of hoopers, how could it be?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>\u003ci>Copyright 2024 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Power of the Dream’ shows how players took a stand during racial justice protests, helped elect a senator and negotiated pay raises.",
"status": "publish",
"parent": 0,
"modified": 1726701070,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1577
},
"headData": {
"title": "Review: WNBA Documentary Highlights Off-Court Activism | KQED",
"description": "‘Power of the Dream’ shows how players took a stand during racial justice protests, helped elect a senator and negotiated pay raises.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "arts_13960606",
"twTitle": "",
"twDescription": "",
"twImgId": "arts_13960606",
"socialTitle": "Review: WNBA Documentary Highlights Off-Court Activism %%page%% %%sep%% KQED",
"socialDescription": "‘Power of the Dream’ shows how players took a stand during racial justice protests, helped elect a senator and negotiated pay raises.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New WNBA Documentary Highlights Off-Court Player Activism",
"datePublished": "2024-07-01T10:45:30-07:00",
"dateModified": "2024-09-18T16:11:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "nx-s1-5015702",
"nprHtmlLink": "https://www.npr.org/2024/07/01/nx-s1-5015702/wnba-documentary-black-lives-matter-raphael-warnock",
"nprRetrievedStory": "1",
"nprPubDate": "2024-07-01T11:00:00-04:00",
"nprStoryDate": "2024-07-01T11:00:00-04:00",
"nprLastModifiedDate": "2024-07-01T11:00:17.661-04:00",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13960599/wnba-documentary-highlights-off-court-player-activism",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Know how you can tell if women’s sports has finally broken into the American mainstream consciousness? When your 82-year-old grandmother-in-law tells you, “They’ve been showing a lot more girls basketball on television these days.”\u003c/p>\n\u003cp>With viewership for women’s basketball at an all-time high, \u003cem>Power of the Dream\u003c/em> — Amazon’s new documentary directed by Dawn Porter that highlights the WNBA’s fight for equity and representation — arrives at an apex moment.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957833",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Offering a candid look into the off-court activism of WNBAers during the COVID-ravaged 2020 season — as players mourn the loss of Black lives due to police violence and get involved in the Georgia senatorial race — the film isn’t what you’d expect from a basketball joint. There’s virtually no dribbling in it, and very little action about the sport itself. (Perhaps that’s communicated in the title, which is more poetic than it is athletic).\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11986061",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>And yet, this isn’t a polished look at the league’s imperviousness. It’s about the ugliness of pro sports in America: the struggles that even the world’s most successful, elite basketballers face, their battles to impact greater social change, and their sacrifices to improve conditions for marginalized communities, all while juggling their own needs that aren’t being met as a unionized workforce of 144 employees.\u003c/p>\n\u003cp>With a mix of news clips, original documentary footage, and interviews with notable sports journalists and WNBA icons (including Angel McCoughtry, Layshia Clarendon, and Elizabeth Williams), the film shows multiple dimensions of player-led change.\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>Rather than glorifying the WNBA’s public image (the film shows when the league misstepped by fining players for their social actions), the camera zooms in on players in genuine states of vulnerability and uncertainty — if not utter frustration — as they coordinate to stand up for their core beliefs. It helps that two of the featured athletes, Nneka Ogwumike and Sue Bird, widely considered to be among the best women hoopers of their generations, are behind the film’s production. The documentary shines brightest in moments that feel intimate: windows of genuine urgency and (figurative) locker room access that can be gained when the players themselves have a hand in the making.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff9%2F2d%2F0cec4df04f95a4e71957bbae31a2%2Fpotd-2024-fg-00070503-still018-3000.jpg\" alt=\"Layshia Clarendon in Power of the Dream.\">\u003cfigcaption>Layshia Clarendon in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the film asks: What responsibilities do modern professional athletes have? How do those responsibilities evolve, shift and deepen when layered with issues of gender, race and economics? And how do high-achieving humans respond when their dreams are challenged and interrupted?\u003c/p>\n\u003ch3>A legacy of WNBActivism\u003c/h3>\n\u003cp>\u003cem>Power of the Dream\u003c/em> constructs a framework beginning with the opening scene, when a group key players prepare to discuss their political views on live television while wearing black T-shirts that read “ARREST THE COPS WHO KILLED BREONNA TAYLOR” and “SAY HER NAME.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956931",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>From the outset, the film provides a microhistory on the legacy of social advocacy among WNBA players — despite being fined, targeted and criticized by league officials, media and fans. In 2016, the Minnesota Lynx drew ire from the Minnesota Police Department after members of the team spoke out against the killing of Philando Castile in nearby Falcon Heights. The team’s franchise player and four-time WNBA champion, Maya Moore, became the face of the player-led protests. The boldness of the Lynx — who, at the time, were the WNBA’s version of Michael Jordan’s Chicago Bulls of the ‘90s — initiated a chain of protests in the sports world culminating with Colin Kaepernick’s infamous NFL kneel later that year.\u003c/p>\n\u003cp>Moore would eventually take her fight for justice further, stepping away from basketball in 2019 to dedicate time towards freeing a wrongly convicted man (Jonathan Irons, her now-husband), and eventually retiring to fully pursue social justice causes. Moore’s story isn’t brand new, but, through the insights of journalists like Jemele Hill, the documentary argues that the magnitude of Moore’s actions haven’t been fully grasped yet. Her work is positioned as a reflection of the WNBA’s larger ethos of compassion in ways that are rarely seen in other major leagues.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1298883521327566854"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Moore isn’t the only WNBA luminary who has risked her own neck to do the right thing. Much of the documentary focuses on the coordinated efforts of the league’s players at the height of the 2020 “Wubble.”\u003c/p>\n\u003cp>With the murders of Breonna Taylor and, months later, George Floyd, the league’s biggest stars take a unified stand. With televised games scheduled to air, they collectively refuse to compete as usual, instead gathering on the lawn of IMG Academy in Bradenton, Fla. — where their shortened, quarantined season took place — to hold a vigil. Every single WNBA player was in attendance. It’s among the most moving things you’ll ever see in professional sports. Imagine any other league pulling that off.\u003c/p>\n\u003cp>Holly Rowe, an ESPN reporter who was assigned to cover the WNBA’s COVID season, says in the documentary that those WNBA players embodied the most politicized group of pro athletes in U.S. history. These weren’t just individuals sharing comments on social media, or outliers spewing out-of-context, post-game press conference soundbites — it was a tactical, organized assemblage of the league’s entirety speaking out as one. And they sustained it throughout the whole season.\u003c/p>\n\u003ch3>Labor politics in the “W”\u003c/h3>\n\u003cp>For the uninitiated WNBA newbie, \u003cem>Power of the Dream \u003c/em>is an introduction to the players’ collaborative capacity for change. Indeed, the WNBA offers a case study in labor organizing that arguably no other major sports league in America can.\u003c/p>\n\u003cp>Ogwumike — a league stalwart, Stanford alumni and former No. 1 pick in the 2012 WNBA Draft — helmed the Women’s National Basketball Players Association during pivotal contract negotiations in 2019 and 2020.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2F1b%2F837c76334846b66a009e79796113%2Fpotd-2024-fg-00011210-still002-3000.jpg\" alt=\"Nneka Ogwumike featured in Power of the Dream.\">\u003cfigcaption>Nneka Ogwumike featured in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers show Ogwumike and her colleagues strategizing, and then, like a fastbreak on the open court, coming up big. They \u003ca href=\"https://www.wnba.com/news/wnba-and-wnbpa-reach-tentative-agreement-on-groundbreaking-eight-year-collective-bargaining-agreement\">secured an unprecedented 53% salary increase and paid maternity leave\u003c/a>, among the largest, most progressive overhauls in U.S. sports bargaining history. (There’s still a long way to go: The WNBA’s top-paid stars will make around $250,000 in salaries this year; just a fraction of the NBA’s \u003cem>minimum \u003c/em>pay of over $1 million.)\u003c/p>\n\u003cp>The WNBA players’ victory, though a subplot in the film, serves a narrative function: it lays the groundwork for legitimizing the WNBA’s relentless efforts for improving conditions on multiple fronts — forming one spear tip in their multi-pronged demand for change that eventually reaches Congress.\u003c/p>\n\u003ch3>The Georgia U.S. Senate race\u003c/h3>\n\u003cp>The WNBA’s Atlanta Dream franchise — named after Dr. Martin Luther King’s timeless monologue — is the climactic end point of the documentary (see: \u003cem>Power of the \u003c/em>Dream\u003cem>)\u003c/em>. Though the filmmakers choose to explore league-wide issues plaguing athletes on various teams leading up to that moment, the overall exposition ultimately funnels towards Atlanta.\u003c/p>\n\u003cp>Amid the social turmoil of the 2020 season, Atlanta’s then-majority-owner, Republican Sen. Kelly Loeffler (who declined to be interviewed for the documentary) became a major source of disruption for the players when she discredited the WNBA’s women for their support of Black Lives Matter.\u003c/p>\n\u003cp>As the 2020 elections unfolded in Georgia, Loeffler was favored to win in a crucial Senate race as the incumbent candidate. WNBA players, once again, made history: they openly denounced Loeffler by strategically rallying around her opponent, Rev. Raphael Warnock.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6f%2F20%2F0209a93847d99a01a79d7ae9af69%2Fpotd-2024-fg-00041411-still011-3000.jpg\" alt=\"Sue Bird featured in the new documentary Power of the Dream.\">\u003cfigcaption>Sue Bird featured in the new documentary \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warnock held only 9% of voter support before the WNBA’s involvement, and the documentary positions the players’ support as crucial to his win. In the film, Warnock (the only male subject) largely credits the WNBA for his unprecedented victory, becoming Georgia’s first-ever Black senator. He remains in office.\u003c/p>\n\u003cp>Despite her monumental success on and off the court, Bird still grapples with the larger question of pro athletes’ responsibilities, and whether or not they should even exert their social and political influence at such a high level. It’s not lost on her, and her peers, that in order to make change for their communities, they must also do the work. For these players, that meant talking with family members and figures like Michelle Obama, getting involved with organizations like “Say Her Name,” doing research on candidates, and actually meeting Warnock before they officially endorsed him. Those duties are certainly not listed on the job description for a WNBA player — or any top-level athlete, for that matter.\u003c/p>\n\u003cp>“It’s never just been about basketball for us,” Bird says on camera. And for this particular group of hoopers, how could it be?\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>\u003cb>\u003ci>Copyright 2024 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960599/wnba-documentary-highlights-off-court-player-activism",
"authors": [
"11748"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_13238"
],
"tags": [
"arts_4459",
"arts_13672",
"arts_22151",
"arts_5265",
"arts_22199"
],
"affiliates": [
"arts_10778"
],
"featImg": "arts_13960606",
"label": "arts_10778"
},
"arts_13960473": {
"type": "posts",
"id": "arts_13960473",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960473",
"score": null,
"sort": [
1719611130000
]
},
"guestAuthors": [],
"slug": "best-fiction-books-summer-2024-npr-staff-picks",
"title": "NPR Staffers Pick Their Favorite Fiction Reads of 2024",
"publishDate": 1719611130,
"format": "standard",
"headTitle": "NPR Staffers Pick Their Favorite Fiction Reads of 2024 | KQED",
"labelTerm": {},
"content": "\u003cp>Even hardworking news journalists by day need a break from reality in their off hours. In the newsroom at NPR, there are some omnivorous fiction readers. There are fans of romance, historical fiction, sci-fi, fantasy, horror, and more. We asked our colleagues what they’ve enjoyed reading most this year — and here are the titles they shared. (And, OK, yes, we read \u003cem>plenty\u003c/em> of nonfiction, too, because NPR gonna NPR. \u003ca href=\"https://www.kqed.org/arts/13959945/best-nonfiction-books-2024-npr-staff-picks\">You can see that list here\u003c/a>. )\u003c/p>\n\u003chr>\n\u003ch2>Realistic Fiction\u003c/h2>\n\u003cfigure id=\"attachment_13960567\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM.png\" alt=\"A painting of a cliff edge at sunrise with large trees at its base.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘All Fours: A Novel’ by Miranda July. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘All Fours: A Novel’ by Miranda July\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>All Fours\u003c/em> is a coming-of-age novel for perimenopause. The story follows an unnamed narrator as she begins a cross-country road trip away from her husband and child, but she pulls over to stay in a motel 30 minutes from her house instead. This “trip” still changes her life — through an infatuation with a younger guy who works at a car rental place, she begins a new intimacy with herself, too.\u003c/p>\n\u003cp>I’ve read all of Miranda July’s books, and she’s always doing weird and imaginative things with her characters. This story has all of July’s usual eccentricity, but it also brims with the excitement and fear and possibility that comes with entering the unknown of life’s latter half, especially for women. It felt singularly fresh, and perfectly enjoyable. \u003cem>— \u003ca href=\"https://www.npr.org/people/959668312/liam-mcbain\">Liam McBain,\u003c/a> associate producer,\u003c/em> \u003cem>‘It’s Been a Minute’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960566\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM.png\" alt=\"A gas station sign, a neon sign and a sign with sliding letters.\" width=\"860\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM-800x1127.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM-160x225.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM-768x1082.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">‘American Spirits’ by Russell Banks. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘American Spirits’ by Russell Banks\u003c/strong>\u003c/h2>\n\u003cp>The three stories in \u003ca href=\"https://www.npr.org/2024/03/10/1237083926/russell-banks-posthumous-novel-american-spirits\">this collection\u003c/a> are set in a fictional town, but seem so familiar: a local guy who got in a dangerous beef with an out-of-towner that bought up his family’s property and then refused to let him hunt on it; a family that adopts several children then purposely crashes their van off the highway; grandparents who are scammed by people claiming to have kidnapped their grandson.\u003c/p>\n\u003cp>The late Russell Banks’ final writings are a masterful exploration of these kinds of tales, looking at the motivations of ordinary people in a world that’s become increasingly polarized and deeply troubled. \u003cem>— \u003ca href=\"https://www.npr.org/people/474954558/melissa-gray\">Melissa Gray,\u003c/a> senior producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960564\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM.png\" alt=\"A book cover with a red house on it. It has oversized flowers illustrated as coming out of its roof. \" width=\"818\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM-800x1183.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM-768x1136.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘Behind You Is the Sea’ by Susan Muaddi Darraj. \u003ccite>(HarperVia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Behind You Is the Sea’ by Susan Muaddi Darraj\u003c/strong>\u003c/h2>\n\u003cp>If you want to know the challenges that Palestinian Americans face in the U.S., you must read this book. It follows several families in Baltimore as they wrestle with poverty, religion, living in between two cultures and their pursuit of the American Dream. There is Marcus, a cop who stands up for his Arab sister who is dating a Black man; Samira, who is shamed for being a childless divorcee (despite that, she is a successful lawyer); Layla, a high school student who pushes back against the drama club’s production of \u003cem>Aladdin\u003c/em>, which she says perpetuates racist stereotypes about Arabs. How their lives intersect will leave you at the edge of your seat. \u003cem>— \u003ca href=\"https://www.npr.org/people/469106148/malaka-gharib\">Malaka Gharib,\u003c/a> digital editor, ‘Life Kit’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960562\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM.png\" alt=\"A book cover with an illustration of a young pig on it.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Come & Get It’ by Kiley Reid. \u003ccite>(G.P. Putnam’s Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Come & Get It’ by Kiley Reid\u003c/strong>\u003c/h2>\n\u003cp>Told through multiple perspectives, I could not put this snappy page-turner down even though I had no idea where it was going until its jaw-dropping crescendo. Set at the University of Arkansas, this story follows several college students and a writing professor over the course of a year, largely through the lens of their relationship with money — how it motivates them, how it gets them into and (for some) out of situations — as well as race, sexuality, power and social status. As a southerner and the graduate of a southern university, I found myself nodding along excitedly to Reid’s apt depictions of contemporary southern culture. \u003cem>— \u003ca href=\"https://www.npr.org/people/637150103/becky-harlan\">Beck Harlan,\u003c/a> visuals editor, ‘Life Kit’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960560\" class=\"wp-caption aligncenter\" style=\"max-width: 822px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM.png\" alt=\"A book cover with cartoonish font and a photo of two palm trees.\" width=\"822\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM.png 822w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM-800x1178.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM-768x1131.png 768w\" sizes=\"(max-width: 822px) 100vw, 822px\">\u003cfigcaption class=\"wp-caption-text\">‘Dead in Long Beach, California: A Novel’ by Venita Blackburn. \u003ccite>(MCD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Dead in Long Beach, California: A Novel’ by Venita Blackburn\u003c/strong>\u003c/h2>\n\u003cp>A woman named Coral finds the body of her brother after his suicide, but she doesn’t tell anyone right away. Instead, she begins to inhabit his life through his phone, as if she can keep him alive by answering his texts. But what makes the book even odder, even more ambitious, is that it is narrated in the detached voices of automated beings from the future who are all that’s left after humanity has wiped itself out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This combination of almost unbearable intimacy and arm’s-length anthropology has an explanation of sorts. But more importantly, it serves both to add considerable humor to the text (what would a robot think of human frailty, after all?) and to render Coral’s situation more confusing, more disorienting. It’s a sad story, but it’s also a ride, and that’s a tough combination. \u003cem>— \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\">Linda Holmes,\u003c/a> host, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960558\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960558\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM.png\" alt=\"Side profile of a woman wearing an elaborate red sari. \" width=\"834\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM-768x1114.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘The Djinn Waits a Hundred Years: A Novel’ by Shubnum Khan. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Djinn Waits a Hundred Years: A Novel’ by Shubnum Khan\u003c/strong>\u003c/h2>\n\u003cp>The djinn of the title — I pictured a depressed Grinch — haunts this comforting dose of tropes: A girl with a deceased mom moves into an old, possibly magic house with an inaccessible area. Blocked-off rooms being irresistible to teenage main characters, Sana Malek digs her way in, uncovering a tragic family secret or two. The twists and revelations that follow aren’t exactly jaw-dropping, but are emotionally wrenching enough to clear out the old tear ducts without leaving a grief hangover. \u003cem>— \u003ca href=\"https://www.npr.org/people/1173760481/holly-j-morris\">Holly J. Morris,\u003c/a> digital trainer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960556\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM.png\" alt=\"Colorful illustration of an exotic forest.\" width=\"824\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM-800x1177.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM-768x1130.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘The Extinction of Irena Rey’ by Jennifer Croft. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Extinction of Irena Rey’ by Jennifer Croft\u003c/strong>\u003c/h2>\n\u003cp>This book has so many layers! Let’s start with the premise. Eight translators meet up at the home of a famous Polish novelist to translate her latest work — which is apparently so brilliant it could change the world! — into their respective home languages. But their beloved author goes missing, setting off their search for her in the nearby Białowieża forest — filled with so many layers of wilderness! The narrator is the Spanish translator, but we’re reading the story in English — it’s been translated by the English translator. Those two don’t get along. More layers! If you like language, literature — and fungi — this wild ride of a very esoteric mystery is for you. \u003cem>— \u003ca href=\"https://www.npr.org/people/378865949/elissa-nadworny\">Elissa Nadworny,\u003c/a> correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960551\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM.png\" alt=\"A Black man relaxes on the edge of a boat, overlooking choppy waves.\" width=\"848\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM-800x1143.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM-768x1098.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘Great Expectations’ by Vinson Cunningham. \u003ccite>(Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Great Expectations’ by Vinson Cunningham\u003c/strong>\u003c/h2>\n\u003cp>Vinson Cunningham worked on the 2008 Obama campaign, so it’s no surprise that this coming-of-age story follows a young man working on a thinly (very thinly) veiled version of that very undertaking. It would be easy to make a story like this either a cynical and cutting takedown of politics or a starry-eyed and idealistic discovery of meaning. It’s neither. It presents this campaign as a formative stage in the life of a young person who sees what goes into the successful gathering of power, ugly and impressive as it can be. Full of sharp observations about our precarious system of government, it’s also insightful about race and wealth and the relationship between the two. \u003cem>— \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\">Linda Holmes,\u003c/a> host, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960549\" class=\"wp-caption aligncenter\" style=\"max-width: 826px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM.png\" alt=\"Illustration of stairs, boxes and plant life.\" width=\"826\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM.png 826w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM-800x1174.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM-768x1127.png 768w\" sizes=\"(max-width: 826px) 100vw, 826px\">\u003cfigcaption class=\"wp-caption-text\">‘Greta & Valdin’ by Rebecca K. Reilly. \u003ccite>(Victoria University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Greta & Valdin’ by Rebecca K. Reilly\u003c/strong>\u003c/h2>\n\u003cp>The loving family at the heart of this very funny and moving novel about a brother and sister is so complex that I drew a diagram — no fooling — halfway through, the better to solidify in my mind ideas like, “Valdin recently broke up with his older boyfriend, who is also his uncle’s husband’s brother.” But despite the messy structure of things, every bond in the book is written to be precious and specific.\u003c/p>\n\u003cp>\u003cem>Greta & Valdin\u003c/em> is the rare story to live up to its fearless promotional copy, which calls it a cross between \u003cem>Schitt’s Creek\u003c/em> and \u003cem>Normal People.\u003c/em> Perhaps that sounds impossible; that’s what makes it so good. \u003cem>— \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\">Linda Holmes,\u003c/a> host, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960548\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM.png\" alt=\"An illustration of a woman wearing boxing gloves and helmet, throwing a punch.\" width=\"828\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM.png 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM-768x1120.png 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">‘Headshot: A Novel’ by Rita Bullwinkel. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Headshot: A Novel’ by Rita Bullwinkel\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Headshot \u003c/em>is a real one-two punch of a novel. Eight teenage girl boxers have come to Bob’s Boxing Palace in Reno, Nevada, for the 12th annual Women’s 18 & Under Daughters of America Cup. As each fight plays out in the ring — sometimes brutally, ferociously — Rita Bullwinkel brings to life the internal monologues of the girls. They recite the digits of pi, think about their pasts, their futures, their dreams of being the best in the world — and also of making their opponents chomp on a mouthful of pennies until their teeth break.\u003c/p>\n\u003cp>Bullwinkel’s dynamic writing — moving back and forth in time, in and out of the boxing gym — and short, punchy sentences are a perfect mirror of the girls’ jabs in the ring. It’s a knockout. \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960547\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM.png\" alt=\"A painting of a man's face, split into two.\" width=\"840\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM-800x1154.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM-768x1108.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘Henry Henry: A Novel’ by Allen Bratton. \u003ccite>(The Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Henry Henry’ by Allen Bratton\u003c/strong>\u003c/h2>\n\u003cp>Hal is a profane mess, kind of like Shakespeare’s Prince Hal, on whom he’s based: The 20-something is careening through life fueled by drugs, booze, cigarettes, and loveless sex. He both flaunts and loathes his class status, his family’s fortune, and his future as Duke of Lancaster, along with a flat-out-refusal to live up to his father’s expectations. Hal is so wholly unsympathetic that if not for the brilliant writing, you might just give up before discovering the shocking violation at the root of his self-destruction. How can he finally become his own person? This isn’t an easy read. It’s at times dark and highly upsetting, but the author makes you stick with it in hopes of seeing Hal finally grow up. \u003cem>— \u003ca href=\"https://www.npr.org/people/474954558/melissa-gray\">Melissa Gray,\u003c/a> senior producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960546\" class=\"wp-caption aligncenter\" style=\"max-width: 846px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM.png\" alt=\"Illustrations of colorful houses, nestled in trees.\" width=\"846\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM.png 846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM-800x1146.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM-768x1100.png 768w\" sizes=\"(max-width: 846px) 100vw, 846px\">\u003cfigcaption class=\"wp-caption-text\">‘Same As It Ever Was’ by Claire Lombardo. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Same As It Ever Was’ by Claire Lombardo\u003c/strong>\u003c/h2>\n\u003cp>This is one of those beautifully written, keenly observed novels where not that much happens — other than, you know, life itself — but also so much happens. Julia Ames is experiencing a midlife plateau when an announcement from her son sets her reeling, and reflecting on all the relationships — past and present, familial, intergenerational, romantic — that have shaped her life including: Mark, her near-perfect husband; Anita, her near-imperfect mother; and Helen, the older woman who saves Julia in the early days of motherhood. Though the dynamic between Julia and her “spiky” teenage daughter is my personal favorite, Claire Lombardo has written a whole cast of characters so detailed, so specifically themselves, that you almost feel you could reach out and touch them. \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960545\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM.png\" alt=\"A book cover showing a row of falling dominoes.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Victim: A Novel’ by Andrew Boryga. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Victim: A Novel’ by Andrew Boryga\u003c/strong>\u003c/h2>\n\u003cp>Lying is kind of funny. The stress of someone jumping through increasingly wild hoops to avoid getting caught in a lie is hilarious.\u003c/p>\n\u003cp>\u003cem>Victim\u003c/em> is about Javi, a writer from a marginalized community, who fudges his way into the kinds of rooms where people say “marginalized” and “community” a lot. The book is a charming critique of the publishing industry and its surface-level attempts at righting societal ills (which, kind of bold for a debut author), while also staying empathetic towards the well-meaning individuals who give Javi a shot. \u003cem>— \u003ca href=\"https://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong,\u003c/a> correspondent, Culture Desk, and host, NPR’s ‘Book of the Day’\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Romance & Relationships\u003c/h2>\n\u003cfigure id=\"attachment_13960544\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960544\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM.png\" alt=\"An illustration of three women positioned around a large martini glass.\" width=\"812\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM-768x1144.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">‘Annie LeBlanc Is Not Dead Yet’ by Molly Morris. \u003ccite>(Wednesday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Annie LeBlanc Is Not Dead Yet’ by Molly Morris\u003c/strong>\u003c/h2>\n\u003cp>What happens when your former best friend comes back from the dead, but only for 30 days? That’s what Wilson needs to figure out when her friend Annie is brought back as part of a local custom in her small California town. To complicate things more, their friend, Ryan apparently hates them both. Wilson is determined to fix things before Annie returns to — well, being dead.\u003c/p>\n\u003cp>This is a beautifully poetic YA work about female friendships, with a touch of magical realism and laugh out loud humor. The dynamic between the trio is filled with teenage angst, love and forgiveness. It considers a common dilemma: How do you accept change when it means giving up what you love? \u003cem>— \u003ca href=\"https://www.npr.org/people/836937515/hafsa-fathima\">Hafsa Fathima,\u003c/a> production assistant, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960543\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM.png\" alt=\"An illustration of a woman looking through binoculars. In one lens, we see a bird. In the other, a man. \" width=\"810\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM.png 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM-800x1199.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM-768x1151.png 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Birding with Benefits’ by Sarah T. Dubb. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Birding with Benefits’ by Sarah T. Dubb\u003c/strong>\u003c/h2>\n\u003cp>This sweet, fake-relationship romance follows the recently divorced empty-nester Celeste as she navigates life as a single woman, once again. This time around, she’s saying yes to life and shaking things up. She didn’t expect the shaking to bring in the sensitive, gentle giant that is John. Or his deep love of birds. Come for the romance but, beware, you might find yourself falling in love with John’s quiet, colorful world of birding yourself!\u003cem> — \u003ca href=\"https://www.npr.org/people/580312943/christina-cala\">Christina Cala,\u003c/a> senior producer, ‘Code Switch’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960542\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM.png\" alt=\"An illustration of a modern young woman walking through a city under an umbrella and reading a book.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl Abroad’ by Elle Kennedy. \u003ccite>(Bloom Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Girl Abroad’ by Elle Kennedy\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Girl Abroad \u003c/em>starts with Abbey Bly, 19 years old, ready to step away from her adoring, yet overprotective, father when she is given the chance to study abroad in London. There’s just one hitch: Abbey believes she’ll be living with girls there — but arrives to find out all her flatmates are boys. She decides to step into her new-found independence (and hide this fact from her father). Elle Kennedy has written an enjoyable coming-of-age story filled with humor, drama, romance, and a found family.\u003c/p>\n\u003cp>Readers will enjoy the way Kennedy deviates from her usual steamy-angst-centric stories for one with deeper emphasis on self growth, relationship dynamics and figuring out not only who you are, but what you want. \u003cem>— Valentina Rodríguez Sánchez, audio engineer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960541\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM.png\" alt=\"A book cover featuring illustrations of a woman and man surrounded by palm trees.\" width=\"836\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM-800x1156.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM-768x1110.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘How to End a Love Story’ by Yulin Kuang. \u003ccite>(Avon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘How to End a Love Story’ by Yulin Kuang\u003c/strong>\u003c/h2>\n\u003cp>If a ’90s rom-com grew up and went to therapy, this sparkling book would be the result. After penning a popular YA book series, Helen Zhang gets a seat in the writers’ room where it’s being adapted into a TV show. Unfortunately, Grant Shepard is also one of the writers in that room. Grant was the charming homecoming king at their high school whereas Helen was awkward and introverted. He’s also the reason Helen’s sister is dead — kind of. It’s been years since the accident, but the writers’ room reopens old wounds and forces Helen and Grant to be vulnerable with each other. Even as Helen wrestles with their past, the two begin a present-day romance that is sexy and tender. This book is a raised glass to second chances and late bloomers. \u003cem>— \u003ca href=\"https://www.npr.org/people/348774853/lauren-migaki\">Lauren Migaki,\u003c/a> senior producer, Education\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960540\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960540\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM.png\" alt=\"A book cover featuring bright illustrations of flowers, a woman and man, and a diamond ring.\" width=\"836\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM-800x1158.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM-768x1112.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘Say You’ll Be Mine: A Novel’ by Naina Kumar. \u003ccite>(Dell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Say You’ll Be Mine: A Novel’ by Naina Kumar\u003c/strong>\u003c/h2>\n\u003cp>It’s a familiar South Asian story: Two people finally relent to their parents’ wishes of meeting a potential marriage partner. But \u003cem>Say You’ll Be Mine \u003c/em>is so much more than that. Meghna is in love with her best friend, who is engaged to someone else. Karthik is an engineer who doesn’t really want to get married. But as the two discover, a fake engagement between them may be the answer to their problems.\u003c/p>\n\u003cp>Naina Kumar writes a funny, heartwarming tale, filled with sizzling chemistry. It’s hard to not root for them from page one, as they slowly fall in love. It’s an incredible book that tackles the merits and shortcomings of culture, finding an identity and of course, true love. \u003cem>— \u003ca href=\"https://www.npr.org/people/836937515/hafsa-fathima\">Hafsa Fathima,\u003c/a> production assistant, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960538\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM.png\" alt=\"A book cover featuring illustrations of a young woman and man surrounded by autumn leaves.\" width=\"820\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM-800x1184.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM-768x1137.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘Sex, Lies and Sensibility’ by Nikki Payne. \u003ccite>(Berkley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Sex, Lies and Sensibility’ by Nikki Payne\u003c/strong>\u003c/h2>\n\u003cp>Set in the heart of vacationland, Nora Dash and Ennis “Bear” Freeman are both fighting uphill battles. After her dad dies, Nora inherits some serious family drama — and a rundown cottage in Maine. Now, Nora and her sister have just months to turn the place into a successful resort. Meanwhile, Bear’s struggling with his own business of guiding visitors through his native Abenaki land. The tours take him through Nora’s backyard and the two team up. Their chemistry is off the charts as they spend hours working and finding stress relief in long runs through the Maine woods. But both are keeping secrets, and have let shame work its way through their lives like an invasive species. The two have to figure out how to move forward once those secrets spill out. \u003cem>— \u003ca href=\"https://www.npr.org/people/348774853/lauren-migaki\">Lauren Migaki,\u003c/a> senior producer, Education\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Historical Fiction\u003c/h2>\n\u003cfigure id=\"attachment_13960537\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960537\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM.png\" alt=\"A book cover featuring a close up photo of a man's hands playing the piano.\" width=\"830\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM-768x1120.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Cahokia Jazz: A Novel’ by Francis Spufford. \u003ccite>(Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Cahokia Jazz: A Novel’ by Francis Spufford\u003c/strong>\u003c/h2>\n\u003cp>It’s 1922 and, in this alternate-history detective story, Cahokia isn’t a UNESCO World Heritage Site in Illinois. It’s a thriving Indigenous-owned and operated city and state with a strong Catholic presence, plus Klansmen, bootleggers and other undesirables. If you try to skim, you’ll get lost in the how-deep-does-this-go corruption, careful world-building and sprawling cast. The naive main character, jazz-playing police detective Joe Barrow, shoves his way through exposition, fight scenes, maybe-occult doings, local royalty and personal angst, all backgrounded by a Roaring Twenties aesthetic portrayed in loving detail. Maps and excerpts from (made-up) primary sources will guide you through — if you pay attention. If you’re me, you’ll take notes. \u003cem>— \u003ca href=\"https://www.npr.org/people/1173760481/holly-j-morris\">Holly J. Morris,\u003c/a> digital trainer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960536\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM.png\" alt=\"Waves crash onto a rocky beach. In the center of the water floats a tea pot.\" width=\"816\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM-768x1135.png 768w\" sizes=\"(max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">‘Clear: A Novel’ by Carys Davies. \u003ccite>(Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Clear: A Novel’ by Carys Davies\u003c/strong>\u003c/h2>\n\u003cp>It’s the 1840s, the last and most brutal years of The Clearances, when Scottish landowners began replacing unprofitable tenants with sheep. Based on that real history, \u003cem>Clear\u003c/em> is a novel about a minister, John, who has been dispatched to clear a remote island of its last remaining inhabitant, Ivar. Except just after he arrives, John slips and falls off a cliff. Ivar finds John, nurses him back to health, and invites him into his life; Ivar begins to teach John the many words that all mean some variation of “rough seas” in Norn (a real language), and the pair learn to communicate roughly, but with an unexpected depth. What follows is perhaps the most tender, beautiful story about the connection between two people and what they must overcome to find each other — in every sense of the word. \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960535\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM.png\" alt=\"A book cover featuring constellations.\" width=\"834\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM-768x1112.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Enlightenment’ by Sarah Perry. \u003ccite>(Mariner Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Enlightenment’ by Sarah Perry\u003c/strong>\u003c/h2>\n\u003cp>You know that feeling — when you are fascinated by someone all the more because you don’t fully understand them? That’s how I feel in English author Sarah Perry’s “presence.” \u003cem>Enlightenment \u003c/em>is a tale of two friends, different generations but hailing from the same small Essex town and even smaller congregation. There’s a mystery involving a woman astronomer — but mainly there’s empathy for the complexities of people’s identities and belief systems, a sense of home, and loads of gorgeous writing. \u003cem>— \u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades,\u003c/a> senior editor, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960534\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM.png\" alt=\"An illustration of an Asian woman, traditionally dressed, walking through snow. Her reflection in the water next to her is a white fox.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM-768x1121.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Fox Wife: A Novel’ by Yangsze Choo. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Fox Wife: A Novel’ by Yangsze Choo\u003c/strong>\u003c/h2>\n\u003cp>There’s a little bit of mystery and mysticism on every page of this book. Set in China in the early 1900s, the book centers around two characters in separate, but connecting narratives. A fox masquerading as a young woman that’s set out to avenge her daughter’s death and a detective with an affinity for foxes who is working a murder case. It’s clever and observant, with twists and turns and just the perfect amount of folklore to keep you asking: What is real and what is imagined? \u003cem>— \u003ca href=\"https://www.npr.org/people/378865949/elissa-nadworny\">Elissa Nadworny,\u003c/a> correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960531\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM.png\" alt=\"A book cover featuring an exotic small town on a hillside at dusk.\" width=\"836\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM-768x1115.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘Hard by a Great Forest’ by Leo Vardiashvili. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Hard by a Great Forest’ by Leo Vardiashvili\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Hard by a Great Forest\u003c/em> has all the ingredients of a dark and twisty fairy tale: A mysterious disappearance, a post-war city teeming with danger, a scavenger hunt, riddles, a road trip, escaped zoo animals, an orphan, and a title echoing the first line of Hansel and Gretel. It’s loosely based on author Leo Vardiashvili’s life — he lived through Georgia’s civil war and immigrated to the UK as a refugee in the mid ’90s. It’s two decades later in the novel when Saba’s father is pulled back to their homeland in search of something — before promptly disappearing. His last message to his son: Do not follow me. But Saba (of course) follows his breadcrumb trail of clues and, along the way, is forced to confront the question: Can you ever really go home again? \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960530\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM.png\" alt=\"A book cover featuring a tiny illustration of a traveling man.\" width=\"834\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM-768x1112.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘James: A Novel’ by Percival Everett. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘James: A Novel’ by Percival Everett\u003c/strong>\u003c/h2>\n\u003cp>The jokes in \u003cem>James\u003c/em> range from chin scratchers to knee slappers to gut busters. Although I’m not sure Percival Everett would even classify them as “jokes.” In his re-imagining of the Huckleberry Finn story, Everett mines language, history and irony to showcase brutal truths about America. And yes, it’s often funny. But, like the original source material, things can quickly turn deadly serious depending on how the river flows.\u003c/p>\n\u003cp>The novel is thrilling, hilarious, heartbreaking, and a strong argument for Everett as one of the best doing it right now. \u003cem>— \u003c/em>\u003ca href=\"https://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong,\u003c/a>\u003cem> correspondent, Culture Desk, and host, NPR’s ‘Book of the Day’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960528\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM.png\" alt=\"A book cover depicting a person on a bicycle riding through purple flames.\" width=\"836\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM-800x1158.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM-768x1112.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘Memory Piece: A Novel’ by Lisa Ko. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Memory Piece: A Novel’ by Lisa Ko\u003c/strong>\u003c/h2>\n\u003cp>This is a coming of age story about three friends growing up in and around New York City in the 1990s. Their friendship evolves over the decades as they experiment with, and push the boundaries of, art, performance and technology. I loved that the book makes art feel real and weird and kind of gross — not glamorous and sugarcoated. \u003cem>— \u003ca href=\"https://www.npr.org/people/378865949/elissa-nadworny\">Elissa Nadworny,\u003c/a> correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960527\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM.png\" alt=\"A book cover featuring an illustration of a woman lying with her arms over her head.\" width=\"834\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM-768x1118.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Swift River’ by Essie Chambers. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Swift River’ by Essie Chambers\u003c/strong>\u003c/h2>\n\u003cp>After her beloved father mysteriously disappears, Diamond and her mom find themselves living hand to mouth in a faded New England mill town where Diamond is the lone Black resident. Why did a previous generation of Black families abandon it?\u003c/p>\n\u003cp>This propulsive and poetic first novel, by an accomplished documentary film producer, grounds a tender coming-of-age narrative in a history of migration, marginalization and imagination. Threaded through every step of Diamond’s journey is her deadpan wit; of one ramshackle dwelling, she observes, “the whole house looks like it’s having a cigarette.” And she reflects, when a heartbreaking legal issue is finally resolved, “That was the thing about a racist town. It got to decide when it would be kind.” \u003cem>— \u003ca href=\"https://www.npr.org/people/3850482/neda-ulaby\">Neda Ulaby,\u003c/a> correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960526\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM.png\" alt=\"A book cover depicting a woman and man sitting at a restaurant table.\" width=\"834\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM-768x1114.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Table for Two: Fictions’ by Amor Towles. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Table for Two: Fictions’ by Amor Towles\u003c/strong>\u003c/h2>\n\u003cp>The first half of this jaunty short-story collection takes place in New York. Among the memorable characters are a Russian immigrant whose chief role in life is to stand in lines; a young antiquarian bookstore employee who gets more than he bargains for in his desire for life experience; and a seemingly straight-laced family man with a big Wall Street job, whose secret pastime, once discovered, upends his and his loved ones’ lives.\u003c/p>\n\u003cp>The second half, devoted entirely to the novella “Eve in Hollywood,” is set in Los Angeles during Tinseltown’s Golden Age. The pithy, film noir-ish thriller picks up where the author’s 2011 novel \u003cem>Rules of Civility\u003c/em> left off — with the plucky, scar-faced adventuress, Evelyn Ross, deftly saving the honor of a host of Hollywood starlets. \u003cem>— \u003ca href=\"https://www.npr.org/people/1113762078/chloe-veltman\">Chloe Veltman,\u003c/a> correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960525\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM.png\" alt=\"A book cover depicting a helicopter flying over trees.\" width=\"842\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM.png 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM-800x1152.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM-768x1105.png 768w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">‘The Women’ by Kristin Hannah. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Women’ by Kristin Hannah\u003c/strong>\u003c/h2>\n\u003cp>“You’re only going to be a nurse until you get married,” her mother said. But Frankie McGrath had other ideas, ones that would lead her away from her wealthy family’s conservative outlook on how daughters should behave. Kristin Hannah’s \u003cem>The Women \u003c/em>follows young Frankie’s transformation, when after working as a nurse in California and tending to a wounded soldier, and missing her soldier brother, she joins the Army as a nurse. That takes her from a comfortable life of known expectations, to one of the chaos and danger of war, new career opportunities and love. Tangled love.\u003c/p>\n\u003cp>When Frankie returns home, she finds her country still protesting the war, and those who served. \u003cem>The Women \u003c/em>shines a light on a then little-known aspect of the war: the women who also served in Vietnam, as nurses. \u003cem>— \u003ca href=\"https://www.npr.org/people/1053920456/jeanine-herbst\">Jeanine Herbst,\u003c/a> news anchor\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960523\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM.png\" alt=\"The front half of a horse visible as it sleeps into a spiraling vortex.\" width=\"836\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM-800x1160.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM-768x1113.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘You Dreamed of Empires: A Novel’ by Álvaro Enrigue, translated by Natasha Wimmer. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘You Dreamed of Empires: A Novel’ by Álvaro Enrigue, translated by Natasha Wimmer\u003c/strong>\u003c/h2>\n\u003cp>This salty and dark historical fantasia feistily explodes well-worn textbook narratives about the meeting of the Spanish conquistador Hernán Cortés and his captains with the Aztec emperor Moctezuma and his entourage in Tenoxtitlan — now Mexico City — in 1519.\u003c/p>\n\u003cp>Álvaro Enrigue’s depiction of the stressed out, clumsy Cortés and the drugged out, mercurial Moctezuma sets these near-mythical figures into earthy relief. But it’s mostly the intrigues and machinations of these leaders’ canny consorts — the Aztec princess Atotoxtli and the conquistadors’ translator Malinalli — that power the plot. Natasha Wimmer’s English translation sharply delivers the novel’s poetic and witty qualities while at the same time reveling in its core theme: the fundamental untranslatability of human experience. \u003cem>— \u003ca href=\"https://www.npr.org/people/1113762078/chloe-veltman\">Chloe Veltman,\u003c/a> correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Mysteries & Thrillers\u003c/h2>\n\u003cfigure id=\"attachment_13960522\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM.png\" alt=\"A book cover featuring a partial close-up of a woman's face and the exterior of a house in the snow.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Nightwatching’ by Tracy Sierra. \u003ccite>(Pamela Dorman Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Nightwatching’ by Tracy Sierra\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Nightwatching \u003c/em>begins with a scene straight out of a nightmare: A woman is at home with two sleeping children when she hears the footsteps of an intruder on the stairs. The story that follows is by turns suspenseful, uncomfortable and enraging. Tracy Sierra skillfully uses the home invasion to explore the terrifying responsibility of motherhood and to expose the pure horror of being a woman in a society that does not always choose to believe women. \u003cem>— \u003ca href=\"https://www.npr.org/people/1227635672/julie-rogers\">Julie Rogers,\u003c/a> historian and curator, NPR Research, Archives & Data strategy\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960518\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM.png\" alt=\"A book cover featuring a white house on a red horizon.\" width=\"830\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM-768x1120.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Hunter’ by Tana French. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Hunter’ by Tana French\u003c/strong>\u003c/h2>\n\u003cp>Set in the hills of Western Ireland, this novel picks up the story of characters introduced in 2020’s \u003cem>The Searcher\u003c/em> — retired American detective Cal Hooper and Trey, a teen girl he’s taken under his wing. As French revisits the seemingly bucolic landscape where trouble roils just under the surface, her writing continues to shift from mystery to meditation. While there’s still a knot of questions about crimes — including both fraud and murder — to be untangled, this novel is ultimately about belonging; the ways in which families do, and don’t, owe each other debts; the communities we resist, alienate, or become a welcome part of. Morally shaded and complex, it will leave you thinking about who’s right — and what’s wrong — long after you turn the last page. —\u003cem> Tayla Burney, director, Network Programming & Production\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Sci Fi, Fantasy, Speculative Fiction & Horror\u003c/h2>\n\u003cfigure id=\"attachment_13960517\" class=\"wp-caption aligncenter\" style=\"max-width: 744px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.31.42-PM.png\" alt=\"A book cover featuring a bird's nest with broken eggs and one that is still intact.\" width=\"744\" height=\"1106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.31.42-PM.png 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.31.42-PM-160x238.png 160w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003cfigcaption class=\"wp-caption-text\">‘Cuckoo’ by Gretchen Felker-Martin. \u003ccite>(Tor Nightfire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Cuckoo’ by Gretchen Felker-Martin\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Cuckoo \u003c/em>is an ingeniously scary novel about a group of kids sent to a conversion camp in the ’90s. There’s the terror of the socially accepted abuse the kids face (both at the camp and at home) because they are queer, but there’s yet another horrifying entity preying on them, and trying to make them — different.\u003c/p>\n\u003cp>Felker-Martin’s sharp novel takes on the particular vulnerability of queer kids and the body-snatching that is conversion therapy, and she does it with equal measures of tenderness and grotesquery. As harrowing and disgusting as it is, I also found it quite insightful and beautiful — and for that reason, \u003cem>Cuckoo \u003c/em>is a great work of horror. \u003cem>— \u003ca href=\"https://www.npr.org/people/959668312/liam-mcbain\">Liam McBain,\u003c/a> associate producer, ‘It’s Been a Minute’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960516\" class=\"wp-caption aligncenter\" style=\"max-width: 874px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM.png\" alt=\"A book cover featuring an illustration of a hand holding a gold chain.\" width=\"874\" height=\"1108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM.png 874w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM-800x1014.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM-768x974.png 768w\" sizes=\"(max-width: 874px) 100vw, 874px\">\u003cfigcaption class=\"wp-caption-text\">‘The Familiar’ by Leigh Bardugo. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Familiar’ by Leigh Bardugo\u003c/strong>\u003c/h2>\n\u003cp>It is the Spanish Golden Age, and kitchen maid Luzia has secrets to hide: her skill at magic and her Jewish heritage. When her employer discovers her spells, Luzia is entered into a tournament to find King Philip, who hopes to increase his military standing, a champion. She is trained by the strange creature Santángel, an immortal with a mysterious past.\u003c/p>\n\u003cp>This is a \u003ca href=\"https://www.npr.org/2024/04/11/1244125050/leigh-bardugo-the-familiar-book-review\">gorgeously lush, vividly written book\u003c/a> that shines with its strong cast of characters. Luzia is a hero you’ll find yourself rooting for right from the start, and the magic system in this world is a breath of fresh air. Once again, Leigh Bardugo proves she never misses the mark when it comes to intricately building fantastical worlds — leaving you thinking about them long after the last page is turned. \u003cem>— \u003ca href=\"https://www.npr.org/people/836937515/hafsa-fathima\">Hafsa Fathima,\u003c/a> production assistant, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960514\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM.png\" alt=\"A book cover depicting the word 'Husbands' climbing up a ladder.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM-768x1121.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Husbands: A Novel’ by Holly Gramazio. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Husbands: A Novel’ by Holly Gramazio\u003c/strong>\u003c/h2>\n\u003cp>Lauren leaves her London flat for a bachelorette party one night only to discover a husband at home awaiting her return. Not only was she not married when she left for the night, she doesn’t recognize this man. Slowly she works out that he’s not a threat — and that all evidence on her phone, in conversations with friends and neighbors, and in their apartments points to him being fully integrated into her life. And there he is until he goes into the attic and a different husband emerges, slightly — or drastically — altering Lauren’s life. The pattern continues as Lauren searches for metaphysical clues to what’s going on and wrestles with how to know, if she can ever know, which life is right for her. A rare combination of the truly hilarious and profound. \u003cem>— Tayla Burney, director, Network Programming & Production\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960513\" class=\"wp-caption aligncenter\" style=\"max-width: 762px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.24.33-PM.png\" alt=\"A book cover depicting block letters floating in space.\" width=\"762\" height=\"1110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.24.33-PM.png 762w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.24.33-PM-160x233.png 160w\" sizes=\"(max-width: 762px) 100vw, 762px\">\u003cfigcaption class=\"wp-caption-text\">‘The Ministry of Time: A Novel’ by Kaliane Bradley. \u003ccite>(Avid Reader Press/Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Ministry of Time: A Novel’ by Kaliane Bradley\u003c/strong>\u003c/h2>\n\u003cp>You’d think a novel about the bureaucracy of a time-travel government agency might be kinda boring. But from the moment you meet the book’s enigmatic protagonist — as she starts a new job in the UK’s top secret new time travel agency — to the introduction of the dashing Graham Gore, an 1847 arctic explorer plucked through time, you’ll be hooked. Come for the romance, stay for the unraveling of a mystery, the nuanced, genre-bending treatises on race and identity, and the long-lingering ideas on colonialism, empires and the mutability of history. \u003cem>— \u003ca href=\"https://www.npr.org/people/580312943/christina-cala\">Christina Cala,\u003c/a> senior producer, ‘Code Switch’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960509\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM.png\" alt=\"A book cover with small illustrations including the Paris city skyline, the ocean and various plants and flowers.\" width=\"828\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM.png 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM-800x1171.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM-768x1124.png 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">‘A Short Walk Through a Wide World: A Novel’ by Douglas Westerbeke. \u003ccite>(Avid Reader Press/Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘A Short Walk Through a Wide World: A Novel’ by Douglas Westerbeke\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s the year 1885, in Paris, when 9-year-old Aubry Tourvel encounters a mysterious, wooden, puzzle ball: It may be a blessing or a curse, but it most definitely changes her life. Now she needs to keep moving forever; too long in any one town and she will bleed to death. So her life is all travel and adventure, and through her we wonder at the richness of the globe’s markets, towns, forests and deserts. Over many decades, she meets all types of kind and curious people — as well as cruel and uncaring ones. Sometimes Aubry enjoys quick communion with strangers. Other times, she is surrounded but desperately lonely. This is a ravishing, deeply human book that’s in love with the world, with people, with the new — and yet is infused with a deep, futile longing for home.\u003cem> — \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>,\u003c/a>\u003cem> editor and reporter, Culture Desk\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "We asked our NPR colleagues what fiction they've enjoyed most this year and these are the titles they shared.",
"status": "publish",
"parent": 0,
"modified": 1726701090,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 56,
"wordCount": 5728
},
"headData": {
"title": "Best Fiction Books of Summer 2024, According to NPR Staff | KQED",
"description": "We asked our NPR colleagues what fiction they've enjoyed most this year and these are the titles they shared.",
"ogTitle": "NPR Staffers Pick Their Favorite Fiction Reads of 2024",
"ogDescription": "",
"ogImgId": "",
"twTitle": "NPR Staffers Pick Their Favorite Fiction Reads of 2024",
"twDescription": "",
"twImgId": "",
"socialTitle": "Best Fiction Books of Summer 2024, According to NPR Staff %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NPR Staffers Pick Their Favorite Fiction Reads of 2024",
"datePublished": "2024-06-28T14:45:30-07:00",
"dateModified": "2024-09-18T16:11:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"nprByline": "Meghan Collins Sullivan, Beth Novey, NPR",
"nprStoryId": "nx-s1-5002183",
"nprHtmlLink": "https://www.npr.org/2024/06/11/nx-s1-5002183/fiction-books-summer-2024",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-17T17:05:45.217-04:00",
"nprStoryDate": "2024-06-17T17:05:45.217-04:00",
"nprLastModifiedDate": "2024-06-21T21:20:41.399-04:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/06/20240621_atc_npr_staffers_pick_their_favorite_fiction_reads_of_2024.mp3?size=3474539&d=217104&e=nx-s1-5002183",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960473/best-fiction-books-summer-2024-npr-staff-picks",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/06/20240621_atc_npr_staffers_pick_their_favorite_fiction_reads_of_2024.mp3?size=3474539&d=217104&e=nx-s1-5002183",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even hardworking news journalists by day need a break from reality in their off hours. In the newsroom at NPR, there are some omnivorous fiction readers. There are fans of romance, historical fiction, sci-fi, fantasy, horror, and more. We asked our colleagues what they’ve enjoyed reading most this year — and here are the titles they shared. (And, OK, yes, we read \u003cem>plenty\u003c/em> of nonfiction, too, because NPR gonna NPR. \u003ca href=\"https://www.kqed.org/arts/13959945/best-nonfiction-books-2024-npr-staff-picks\">You can see that list here\u003c/a>. )\u003c/p>\n\u003chr>\n\u003ch2>Realistic Fiction\u003c/h2>\n\u003cfigure id=\"attachment_13960567\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM.png\" alt=\"A painting of a cliff edge at sunrise with large trees at its base.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.29.32-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘All Fours: A Novel’ by Miranda July. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘All Fours: A Novel’ by Miranda July\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>All Fours\u003c/em> is a coming-of-age novel for perimenopause. The story follows an unnamed narrator as she begins a cross-country road trip away from her husband and child, but she pulls over to stay in a motel 30 minutes from her house instead. This “trip” still changes her life — through an infatuation with a younger guy who works at a car rental place, she begins a new intimacy with herself, too.\u003c/p>\n\u003cp>I’ve read all of Miranda July’s books, and she’s always doing weird and imaginative things with her characters. This story has all of July’s usual eccentricity, but it also brims with the excitement and fear and possibility that comes with entering the unknown of life’s latter half, especially for women. It felt singularly fresh, and perfectly enjoyable. \u003cem>— \u003ca href=\"https://www.npr.org/people/959668312/liam-mcbain\">Liam McBain,\u003c/a> associate producer,\u003c/em> \u003cem>‘It’s Been a Minute’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960566\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM.png\" alt=\"A gas station sign, a neon sign and a sign with sliding letters.\" width=\"860\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM-800x1127.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM-160x225.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.27.54-PM-768x1082.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">‘American Spirits’ by Russell Banks. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘American Spirits’ by Russell Banks\u003c/strong>\u003c/h2>\n\u003cp>The three stories in \u003ca href=\"https://www.npr.org/2024/03/10/1237083926/russell-banks-posthumous-novel-american-spirits\">this collection\u003c/a> are set in a fictional town, but seem so familiar: a local guy who got in a dangerous beef with an out-of-towner that bought up his family’s property and then refused to let him hunt on it; a family that adopts several children then purposely crashes their van off the highway; grandparents who are scammed by people claiming to have kidnapped their grandson.\u003c/p>\n\u003cp>The late Russell Banks’ final writings are a masterful exploration of these kinds of tales, looking at the motivations of ordinary people in a world that’s become increasingly polarized and deeply troubled. \u003cem>— \u003ca href=\"https://www.npr.org/people/474954558/melissa-gray\">Melissa Gray,\u003c/a> senior producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960564\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM.png\" alt=\"A book cover with a red house on it. It has oversized flowers illustrated as coming out of its roof. \" width=\"818\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM-800x1183.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.26.13-PM-768x1136.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘Behind You Is the Sea’ by Susan Muaddi Darraj. \u003ccite>(HarperVia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Behind You Is the Sea’ by Susan Muaddi Darraj\u003c/strong>\u003c/h2>\n\u003cp>If you want to know the challenges that Palestinian Americans face in the U.S., you must read this book. It follows several families in Baltimore as they wrestle with poverty, religion, living in between two cultures and their pursuit of the American Dream. There is Marcus, a cop who stands up for his Arab sister who is dating a Black man; Samira, who is shamed for being a childless divorcee (despite that, she is a successful lawyer); Layla, a high school student who pushes back against the drama club’s production of \u003cem>Aladdin\u003c/em>, which she says perpetuates racist stereotypes about Arabs. How their lives intersect will leave you at the edge of your seat. \u003cem>— \u003ca href=\"https://www.npr.org/people/469106148/malaka-gharib\">Malaka Gharib,\u003c/a> digital editor, ‘Life Kit’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960562\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM.png\" alt=\"A book cover with an illustration of a young pig on it.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.24.40-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Come & Get It’ by Kiley Reid. \u003ccite>(G.P. Putnam’s Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Come & Get It’ by Kiley Reid\u003c/strong>\u003c/h2>\n\u003cp>Told through multiple perspectives, I could not put this snappy page-turner down even though I had no idea where it was going until its jaw-dropping crescendo. Set at the University of Arkansas, this story follows several college students and a writing professor over the course of a year, largely through the lens of their relationship with money — how it motivates them, how it gets them into and (for some) out of situations — as well as race, sexuality, power and social status. As a southerner and the graduate of a southern university, I found myself nodding along excitedly to Reid’s apt depictions of contemporary southern culture. \u003cem>— \u003ca href=\"https://www.npr.org/people/637150103/becky-harlan\">Beck Harlan,\u003c/a> visuals editor, ‘Life Kit’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960560\" class=\"wp-caption aligncenter\" style=\"max-width: 822px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM.png\" alt=\"A book cover with cartoonish font and a photo of two palm trees.\" width=\"822\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM.png 822w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM-800x1178.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.23.03-PM-768x1131.png 768w\" sizes=\"(max-width: 822px) 100vw, 822px\">\u003cfigcaption class=\"wp-caption-text\">‘Dead in Long Beach, California: A Novel’ by Venita Blackburn. \u003ccite>(MCD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Dead in Long Beach, California: A Novel’ by Venita Blackburn\u003c/strong>\u003c/h2>\n\u003cp>A woman named Coral finds the body of her brother after his suicide, but she doesn’t tell anyone right away. Instead, she begins to inhabit his life through his phone, as if she can keep him alive by answering his texts. But what makes the book even odder, even more ambitious, is that it is narrated in the detached voices of automated beings from the future who are all that’s left after humanity has wiped itself out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This combination of almost unbearable intimacy and arm’s-length anthropology has an explanation of sorts. But more importantly, it serves both to add considerable humor to the text (what would a robot think of human frailty, after all?) and to render Coral’s situation more confusing, more disorienting. It’s a sad story, but it’s also a ride, and that’s a tough combination. \u003cem>— \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\">Linda Holmes,\u003c/a> host, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960558\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960558\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM.png\" alt=\"Side profile of a woman wearing an elaborate red sari. \" width=\"834\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.21.29-PM-768x1114.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘The Djinn Waits a Hundred Years: A Novel’ by Shubnum Khan. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Djinn Waits a Hundred Years: A Novel’ by Shubnum Khan\u003c/strong>\u003c/h2>\n\u003cp>The djinn of the title — I pictured a depressed Grinch — haunts this comforting dose of tropes: A girl with a deceased mom moves into an old, possibly magic house with an inaccessible area. Blocked-off rooms being irresistible to teenage main characters, Sana Malek digs her way in, uncovering a tragic family secret or two. The twists and revelations that follow aren’t exactly jaw-dropping, but are emotionally wrenching enough to clear out the old tear ducts without leaving a grief hangover. \u003cem>— \u003ca href=\"https://www.npr.org/people/1173760481/holly-j-morris\">Holly J. Morris,\u003c/a> digital trainer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960556\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM.png\" alt=\"Colorful illustration of an exotic forest.\" width=\"824\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM-800x1177.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.19.57-PM-768x1130.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘The Extinction of Irena Rey’ by Jennifer Croft. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Extinction of Irena Rey’ by Jennifer Croft\u003c/strong>\u003c/h2>\n\u003cp>This book has so many layers! Let’s start with the premise. Eight translators meet up at the home of a famous Polish novelist to translate her latest work — which is apparently so brilliant it could change the world! — into their respective home languages. But their beloved author goes missing, setting off their search for her in the nearby Białowieża forest — filled with so many layers of wilderness! The narrator is the Spanish translator, but we’re reading the story in English — it’s been translated by the English translator. Those two don’t get along. More layers! If you like language, literature — and fungi — this wild ride of a very esoteric mystery is for you. \u003cem>— \u003ca href=\"https://www.npr.org/people/378865949/elissa-nadworny\">Elissa Nadworny,\u003c/a> correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960551\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM.png\" alt=\"A Black man relaxes on the edge of a boat, overlooking choppy waves.\" width=\"848\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM-800x1143.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.18.25-PM-768x1098.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘Great Expectations’ by Vinson Cunningham. \u003ccite>(Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Great Expectations’ by Vinson Cunningham\u003c/strong>\u003c/h2>\n\u003cp>Vinson Cunningham worked on the 2008 Obama campaign, so it’s no surprise that this coming-of-age story follows a young man working on a thinly (very thinly) veiled version of that very undertaking. It would be easy to make a story like this either a cynical and cutting takedown of politics or a starry-eyed and idealistic discovery of meaning. It’s neither. It presents this campaign as a formative stage in the life of a young person who sees what goes into the successful gathering of power, ugly and impressive as it can be. Full of sharp observations about our precarious system of government, it’s also insightful about race and wealth and the relationship between the two. \u003cem>— \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\">Linda Holmes,\u003c/a> host, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960549\" class=\"wp-caption aligncenter\" style=\"max-width: 826px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM.png\" alt=\"Illustration of stairs, boxes and plant life.\" width=\"826\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM.png 826w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM-800x1174.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.16.46-PM-768x1127.png 768w\" sizes=\"(max-width: 826px) 100vw, 826px\">\u003cfigcaption class=\"wp-caption-text\">‘Greta & Valdin’ by Rebecca K. Reilly. \u003ccite>(Victoria University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Greta & Valdin’ by Rebecca K. Reilly\u003c/strong>\u003c/h2>\n\u003cp>The loving family at the heart of this very funny and moving novel about a brother and sister is so complex that I drew a diagram — no fooling — halfway through, the better to solidify in my mind ideas like, “Valdin recently broke up with his older boyfriend, who is also his uncle’s husband’s brother.” But despite the messy structure of things, every bond in the book is written to be precious and specific.\u003c/p>\n\u003cp>\u003cem>Greta & Valdin\u003c/em> is the rare story to live up to its fearless promotional copy, which calls it a cross between \u003cem>Schitt’s Creek\u003c/em> and \u003cem>Normal People.\u003c/em> Perhaps that sounds impossible; that’s what makes it so good. \u003cem>— \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\">Linda Holmes,\u003c/a> host, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960548\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM.png\" alt=\"An illustration of a woman wearing boxing gloves and helmet, throwing a punch.\" width=\"828\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM.png 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.15.04-PM-768x1120.png 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">‘Headshot: A Novel’ by Rita Bullwinkel. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Headshot: A Novel’ by Rita Bullwinkel\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Headshot \u003c/em>is a real one-two punch of a novel. Eight teenage girl boxers have come to Bob’s Boxing Palace in Reno, Nevada, for the 12th annual Women’s 18 & Under Daughters of America Cup. As each fight plays out in the ring — sometimes brutally, ferociously — Rita Bullwinkel brings to life the internal monologues of the girls. They recite the digits of pi, think about their pasts, their futures, their dreams of being the best in the world — and also of making their opponents chomp on a mouthful of pennies until their teeth break.\u003c/p>\n\u003cp>Bullwinkel’s dynamic writing — moving back and forth in time, in and out of the boxing gym — and short, punchy sentences are a perfect mirror of the girls’ jabs in the ring. It’s a knockout. \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960547\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM.png\" alt=\"A painting of a man's face, split into two.\" width=\"840\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM-800x1154.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.12.49-PM-768x1108.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘Henry Henry: A Novel’ by Allen Bratton. \u003ccite>(The Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Henry Henry’ by Allen Bratton\u003c/strong>\u003c/h2>\n\u003cp>Hal is a profane mess, kind of like Shakespeare’s Prince Hal, on whom he’s based: The 20-something is careening through life fueled by drugs, booze, cigarettes, and loveless sex. He both flaunts and loathes his class status, his family’s fortune, and his future as Duke of Lancaster, along with a flat-out-refusal to live up to his father’s expectations. Hal is so wholly unsympathetic that if not for the brilliant writing, you might just give up before discovering the shocking violation at the root of his self-destruction. How can he finally become his own person? This isn’t an easy read. It’s at times dark and highly upsetting, but the author makes you stick with it in hopes of seeing Hal finally grow up. \u003cem>— \u003ca href=\"https://www.npr.org/people/474954558/melissa-gray\">Melissa Gray,\u003c/a> senior producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960546\" class=\"wp-caption aligncenter\" style=\"max-width: 846px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM.png\" alt=\"Illustrations of colorful houses, nestled in trees.\" width=\"846\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM.png 846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM-800x1146.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.11.15-PM-768x1100.png 768w\" sizes=\"(max-width: 846px) 100vw, 846px\">\u003cfigcaption class=\"wp-caption-text\">‘Same As It Ever Was’ by Claire Lombardo. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Same As It Ever Was’ by Claire Lombardo\u003c/strong>\u003c/h2>\n\u003cp>This is one of those beautifully written, keenly observed novels where not that much happens — other than, you know, life itself — but also so much happens. Julia Ames is experiencing a midlife plateau when an announcement from her son sets her reeling, and reflecting on all the relationships — past and present, familial, intergenerational, romantic — that have shaped her life including: Mark, her near-perfect husband; Anita, her near-imperfect mother; and Helen, the older woman who saves Julia in the early days of motherhood. Though the dynamic between Julia and her “spiky” teenage daughter is my personal favorite, Claire Lombardo has written a whole cast of characters so detailed, so specifically themselves, that you almost feel you could reach out and touch them. \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960545\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM.png\" alt=\"A book cover showing a row of falling dominoes.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.09.44-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Victim: A Novel’ by Andrew Boryga. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Victim: A Novel’ by Andrew Boryga\u003c/strong>\u003c/h2>\n\u003cp>Lying is kind of funny. The stress of someone jumping through increasingly wild hoops to avoid getting caught in a lie is hilarious.\u003c/p>\n\u003cp>\u003cem>Victim\u003c/em> is about Javi, a writer from a marginalized community, who fudges his way into the kinds of rooms where people say “marginalized” and “community” a lot. The book is a charming critique of the publishing industry and its surface-level attempts at righting societal ills (which, kind of bold for a debut author), while also staying empathetic towards the well-meaning individuals who give Javi a shot. \u003cem>— \u003ca href=\"https://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong,\u003c/a> correspondent, Culture Desk, and host, NPR’s ‘Book of the Day’\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Romance & Relationships\u003c/h2>\n\u003cfigure id=\"attachment_13960544\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960544\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM.png\" alt=\"An illustration of three women positioned around a large martini glass.\" width=\"812\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.07.57-PM-768x1144.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">‘Annie LeBlanc Is Not Dead Yet’ by Molly Morris. \u003ccite>(Wednesday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Annie LeBlanc Is Not Dead Yet’ by Molly Morris\u003c/strong>\u003c/h2>\n\u003cp>What happens when your former best friend comes back from the dead, but only for 30 days? That’s what Wilson needs to figure out when her friend Annie is brought back as part of a local custom in her small California town. To complicate things more, their friend, Ryan apparently hates them both. Wilson is determined to fix things before Annie returns to — well, being dead.\u003c/p>\n\u003cp>This is a beautifully poetic YA work about female friendships, with a touch of magical realism and laugh out loud humor. The dynamic between the trio is filled with teenage angst, love and forgiveness. It considers a common dilemma: How do you accept change when it means giving up what you love? \u003cem>— \u003ca href=\"https://www.npr.org/people/836937515/hafsa-fathima\">Hafsa Fathima,\u003c/a> production assistant, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960543\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM.png\" alt=\"An illustration of a woman looking through binoculars. In one lens, we see a bird. In the other, a man. \" width=\"810\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM.png 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM-800x1199.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.06.09-PM-768x1151.png 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Birding with Benefits’ by Sarah T. Dubb. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Birding with Benefits’ by Sarah T. Dubb\u003c/strong>\u003c/h2>\n\u003cp>This sweet, fake-relationship romance follows the recently divorced empty-nester Celeste as she navigates life as a single woman, once again. This time around, she’s saying yes to life and shaking things up. She didn’t expect the shaking to bring in the sensitive, gentle giant that is John. Or his deep love of birds. Come for the romance but, beware, you might find yourself falling in love with John’s quiet, colorful world of birding yourself!\u003cem> — \u003ca href=\"https://www.npr.org/people/580312943/christina-cala\">Christina Cala,\u003c/a> senior producer, ‘Code Switch’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960542\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM.png\" alt=\"An illustration of a modern young woman walking through a city under an umbrella and reading a book.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.03.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl Abroad’ by Elle Kennedy. \u003ccite>(Bloom Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Girl Abroad’ by Elle Kennedy\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Girl Abroad \u003c/em>starts with Abbey Bly, 19 years old, ready to step away from her adoring, yet overprotective, father when she is given the chance to study abroad in London. There’s just one hitch: Abbey believes she’ll be living with girls there — but arrives to find out all her flatmates are boys. She decides to step into her new-found independence (and hide this fact from her father). Elle Kennedy has written an enjoyable coming-of-age story filled with humor, drama, romance, and a found family.\u003c/p>\n\u003cp>Readers will enjoy the way Kennedy deviates from her usual steamy-angst-centric stories for one with deeper emphasis on self growth, relationship dynamics and figuring out not only who you are, but what you want. \u003cem>— Valentina Rodríguez Sánchez, audio engineer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960541\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM.png\" alt=\"A book cover featuring illustrations of a woman and man surrounded by palm trees.\" width=\"836\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM-800x1156.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.01.55-PM-768x1110.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘How to End a Love Story’ by Yulin Kuang. \u003ccite>(Avon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘How to End a Love Story’ by Yulin Kuang\u003c/strong>\u003c/h2>\n\u003cp>If a ’90s rom-com grew up and went to therapy, this sparkling book would be the result. After penning a popular YA book series, Helen Zhang gets a seat in the writers’ room where it’s being adapted into a TV show. Unfortunately, Grant Shepard is also one of the writers in that room. Grant was the charming homecoming king at their high school whereas Helen was awkward and introverted. He’s also the reason Helen’s sister is dead — kind of. It’s been years since the accident, but the writers’ room reopens old wounds and forces Helen and Grant to be vulnerable with each other. Even as Helen wrestles with their past, the two begin a present-day romance that is sexy and tender. This book is a raised glass to second chances and late bloomers. \u003cem>— \u003ca href=\"https://www.npr.org/people/348774853/lauren-migaki\">Lauren Migaki,\u003c/a> senior producer, Education\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960540\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960540\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM.png\" alt=\"A book cover featuring bright illustrations of flowers, a woman and man, and a diamond ring.\" width=\"836\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM-800x1158.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-2.00.10-PM-768x1112.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘Say You’ll Be Mine: A Novel’ by Naina Kumar. \u003ccite>(Dell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Say You’ll Be Mine: A Novel’ by Naina Kumar\u003c/strong>\u003c/h2>\n\u003cp>It’s a familiar South Asian story: Two people finally relent to their parents’ wishes of meeting a potential marriage partner. But \u003cem>Say You’ll Be Mine \u003c/em>is so much more than that. Meghna is in love with her best friend, who is engaged to someone else. Karthik is an engineer who doesn’t really want to get married. But as the two discover, a fake engagement between them may be the answer to their problems.\u003c/p>\n\u003cp>Naina Kumar writes a funny, heartwarming tale, filled with sizzling chemistry. It’s hard to not root for them from page one, as they slowly fall in love. It’s an incredible book that tackles the merits and shortcomings of culture, finding an identity and of course, true love. \u003cem>— \u003ca href=\"https://www.npr.org/people/836937515/hafsa-fathima\">Hafsa Fathima,\u003c/a> production assistant, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960538\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM.png\" alt=\"A book cover featuring illustrations of a young woman and man surrounded by autumn leaves.\" width=\"820\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM-800x1184.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.58.26-PM-768x1137.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘Sex, Lies and Sensibility’ by Nikki Payne. \u003ccite>(Berkley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Sex, Lies and Sensibility’ by Nikki Payne\u003c/strong>\u003c/h2>\n\u003cp>Set in the heart of vacationland, Nora Dash and Ennis “Bear” Freeman are both fighting uphill battles. After her dad dies, Nora inherits some serious family drama — and a rundown cottage in Maine. Now, Nora and her sister have just months to turn the place into a successful resort. Meanwhile, Bear’s struggling with his own business of guiding visitors through his native Abenaki land. The tours take him through Nora’s backyard and the two team up. Their chemistry is off the charts as they spend hours working and finding stress relief in long runs through the Maine woods. But both are keeping secrets, and have let shame work its way through their lives like an invasive species. The two have to figure out how to move forward once those secrets spill out. \u003cem>— \u003ca href=\"https://www.npr.org/people/348774853/lauren-migaki\">Lauren Migaki,\u003c/a> senior producer, Education\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Historical Fiction\u003c/h2>\n\u003cfigure id=\"attachment_13960537\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960537\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM.png\" alt=\"A book cover featuring a close up photo of a man's hands playing the piano.\" width=\"830\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.56.35-PM-768x1120.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Cahokia Jazz: A Novel’ by Francis Spufford. \u003ccite>(Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Cahokia Jazz: A Novel’ by Francis Spufford\u003c/strong>\u003c/h2>\n\u003cp>It’s 1922 and, in this alternate-history detective story, Cahokia isn’t a UNESCO World Heritage Site in Illinois. It’s a thriving Indigenous-owned and operated city and state with a strong Catholic presence, plus Klansmen, bootleggers and other undesirables. If you try to skim, you’ll get lost in the how-deep-does-this-go corruption, careful world-building and sprawling cast. The naive main character, jazz-playing police detective Joe Barrow, shoves his way through exposition, fight scenes, maybe-occult doings, local royalty and personal angst, all backgrounded by a Roaring Twenties aesthetic portrayed in loving detail. Maps and excerpts from (made-up) primary sources will guide you through — if you pay attention. If you’re me, you’ll take notes. \u003cem>— \u003ca href=\"https://www.npr.org/people/1173760481/holly-j-morris\">Holly J. Morris,\u003c/a> digital trainer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960536\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM.png\" alt=\"Waves crash onto a rocky beach. In the center of the water floats a tea pot.\" width=\"816\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.54.34-PM-768x1135.png 768w\" sizes=\"(max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">‘Clear: A Novel’ by Carys Davies. \u003ccite>(Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Clear: A Novel’ by Carys Davies\u003c/strong>\u003c/h2>\n\u003cp>It’s the 1840s, the last and most brutal years of The Clearances, when Scottish landowners began replacing unprofitable tenants with sheep. Based on that real history, \u003cem>Clear\u003c/em> is a novel about a minister, John, who has been dispatched to clear a remote island of its last remaining inhabitant, Ivar. Except just after he arrives, John slips and falls off a cliff. Ivar finds John, nurses him back to health, and invites him into his life; Ivar begins to teach John the many words that all mean some variation of “rough seas” in Norn (a real language), and the pair learn to communicate roughly, but with an unexpected depth. What follows is perhaps the most tender, beautiful story about the connection between two people and what they must overcome to find each other — in every sense of the word. \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960535\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM.png\" alt=\"A book cover featuring constellations.\" width=\"834\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.52.49-PM-768x1112.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Enlightenment’ by Sarah Perry. \u003ccite>(Mariner Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Enlightenment’ by Sarah Perry\u003c/strong>\u003c/h2>\n\u003cp>You know that feeling — when you are fascinated by someone all the more because you don’t fully understand them? That’s how I feel in English author Sarah Perry’s “presence.” \u003cem>Enlightenment \u003c/em>is a tale of two friends, different generations but hailing from the same small Essex town and even smaller congregation. There’s a mystery involving a woman astronomer — but mainly there’s empathy for the complexities of people’s identities and belief systems, a sense of home, and loads of gorgeous writing. \u003cem>— \u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades,\u003c/a> senior editor, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960534\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM.png\" alt=\"An illustration of an Asian woman, traditionally dressed, walking through snow. Her reflection in the water next to her is a white fox.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.50.50-PM-768x1121.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Fox Wife: A Novel’ by Yangsze Choo. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Fox Wife: A Novel’ by Yangsze Choo\u003c/strong>\u003c/h2>\n\u003cp>There’s a little bit of mystery and mysticism on every page of this book. Set in China in the early 1900s, the book centers around two characters in separate, but connecting narratives. A fox masquerading as a young woman that’s set out to avenge her daughter’s death and a detective with an affinity for foxes who is working a murder case. It’s clever and observant, with twists and turns and just the perfect amount of folklore to keep you asking: What is real and what is imagined? \u003cem>— \u003ca href=\"https://www.npr.org/people/378865949/elissa-nadworny\">Elissa Nadworny,\u003c/a> correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960531\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM.png\" alt=\"A book cover featuring an exotic small town on a hillside at dusk.\" width=\"836\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.48.43-PM-768x1115.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘Hard by a Great Forest’ by Leo Vardiashvili. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Hard by a Great Forest’ by Leo Vardiashvili\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Hard by a Great Forest\u003c/em> has all the ingredients of a dark and twisty fairy tale: A mysterious disappearance, a post-war city teeming with danger, a scavenger hunt, riddles, a road trip, escaped zoo animals, an orphan, and a title echoing the first line of Hansel and Gretel. It’s loosely based on author Leo Vardiashvili’s life — he lived through Georgia’s civil war and immigrated to the UK as a refugee in the mid ’90s. It’s two decades later in the novel when Saba’s father is pulled back to their homeland in search of something — before promptly disappearing. His last message to his son: Do not follow me. But Saba (of course) follows his breadcrumb trail of clues and, along the way, is forced to confront the question: Can you ever really go home again? \u003cem>— \u003ca href=\"https://www.npr.org/people/712227784/samantha-balaban\">Samantha Balaban,\u003c/a> producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960530\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM.png\" alt=\"A book cover featuring a tiny illustration of a traveling man.\" width=\"834\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.47.01-PM-768x1112.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘James: A Novel’ by Percival Everett. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘James: A Novel’ by Percival Everett\u003c/strong>\u003c/h2>\n\u003cp>The jokes in \u003cem>James\u003c/em> range from chin scratchers to knee slappers to gut busters. Although I’m not sure Percival Everett would even classify them as “jokes.” In his re-imagining of the Huckleberry Finn story, Everett mines language, history and irony to showcase brutal truths about America. And yes, it’s often funny. But, like the original source material, things can quickly turn deadly serious depending on how the river flows.\u003c/p>\n\u003cp>The novel is thrilling, hilarious, heartbreaking, and a strong argument for Everett as one of the best doing it right now. \u003cem>— \u003c/em>\u003ca href=\"https://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong,\u003c/a>\u003cem> correspondent, Culture Desk, and host, NPR’s ‘Book of the Day’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960528\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM.png\" alt=\"A book cover depicting a person on a bicycle riding through purple flames.\" width=\"836\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM-800x1158.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.45.30-PM-768x1112.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘Memory Piece: A Novel’ by Lisa Ko. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Memory Piece: A Novel’ by Lisa Ko\u003c/strong>\u003c/h2>\n\u003cp>This is a coming of age story about three friends growing up in and around New York City in the 1990s. Their friendship evolves over the decades as they experiment with, and push the boundaries of, art, performance and technology. I loved that the book makes art feel real and weird and kind of gross — not glamorous and sugarcoated. \u003cem>— \u003ca href=\"https://www.npr.org/people/378865949/elissa-nadworny\">Elissa Nadworny,\u003c/a> correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960527\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM.png\" alt=\"A book cover featuring an illustration of a woman lying with her arms over her head.\" width=\"834\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.43.47-PM-768x1118.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Swift River’ by Essie Chambers. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Swift River’ by Essie Chambers\u003c/strong>\u003c/h2>\n\u003cp>After her beloved father mysteriously disappears, Diamond and her mom find themselves living hand to mouth in a faded New England mill town where Diamond is the lone Black resident. Why did a previous generation of Black families abandon it?\u003c/p>\n\u003cp>This propulsive and poetic first novel, by an accomplished documentary film producer, grounds a tender coming-of-age narrative in a history of migration, marginalization and imagination. Threaded through every step of Diamond’s journey is her deadpan wit; of one ramshackle dwelling, she observes, “the whole house looks like it’s having a cigarette.” And she reflects, when a heartbreaking legal issue is finally resolved, “That was the thing about a racist town. It got to decide when it would be kind.” \u003cem>— \u003ca href=\"https://www.npr.org/people/3850482/neda-ulaby\">Neda Ulaby,\u003c/a> correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960526\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM.png\" alt=\"A book cover depicting a woman and man sitting at a restaurant table.\" width=\"834\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.42.07-PM-768x1114.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Table for Two: Fictions’ by Amor Towles. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Table for Two: Fictions’ by Amor Towles\u003c/strong>\u003c/h2>\n\u003cp>The first half of this jaunty short-story collection takes place in New York. Among the memorable characters are a Russian immigrant whose chief role in life is to stand in lines; a young antiquarian bookstore employee who gets more than he bargains for in his desire for life experience; and a seemingly straight-laced family man with a big Wall Street job, whose secret pastime, once discovered, upends his and his loved ones’ lives.\u003c/p>\n\u003cp>The second half, devoted entirely to the novella “Eve in Hollywood,” is set in Los Angeles during Tinseltown’s Golden Age. The pithy, film noir-ish thriller picks up where the author’s 2011 novel \u003cem>Rules of Civility\u003c/em> left off — with the plucky, scar-faced adventuress, Evelyn Ross, deftly saving the honor of a host of Hollywood starlets. \u003cem>— \u003ca href=\"https://www.npr.org/people/1113762078/chloe-veltman\">Chloe Veltman,\u003c/a> correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960525\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM.png\" alt=\"A book cover depicting a helicopter flying over trees.\" width=\"842\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM.png 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM-800x1152.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.40.35-PM-768x1105.png 768w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">‘The Women’ by Kristin Hannah. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Women’ by Kristin Hannah\u003c/strong>\u003c/h2>\n\u003cp>“You’re only going to be a nurse until you get married,” her mother said. But Frankie McGrath had other ideas, ones that would lead her away from her wealthy family’s conservative outlook on how daughters should behave. Kristin Hannah’s \u003cem>The Women \u003c/em>follows young Frankie’s transformation, when after working as a nurse in California and tending to a wounded soldier, and missing her soldier brother, she joins the Army as a nurse. That takes her from a comfortable life of known expectations, to one of the chaos and danger of war, new career opportunities and love. Tangled love.\u003c/p>\n\u003cp>When Frankie returns home, she finds her country still protesting the war, and those who served. \u003cem>The Women \u003c/em>shines a light on a then little-known aspect of the war: the women who also served in Vietnam, as nurses. \u003cem>— \u003ca href=\"https://www.npr.org/people/1053920456/jeanine-herbst\">Jeanine Herbst,\u003c/a> news anchor\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960523\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM.png\" alt=\"The front half of a horse visible as it sleeps into a spiraling vortex.\" width=\"836\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM-800x1160.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.38.10-PM-768x1113.png 768w\" sizes=\"(max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘You Dreamed of Empires: A Novel’ by Álvaro Enrigue, translated by Natasha Wimmer. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘You Dreamed of Empires: A Novel’ by Álvaro Enrigue, translated by Natasha Wimmer\u003c/strong>\u003c/h2>\n\u003cp>This salty and dark historical fantasia feistily explodes well-worn textbook narratives about the meeting of the Spanish conquistador Hernán Cortés and his captains with the Aztec emperor Moctezuma and his entourage in Tenoxtitlan — now Mexico City — in 1519.\u003c/p>\n\u003cp>Álvaro Enrigue’s depiction of the stressed out, clumsy Cortés and the drugged out, mercurial Moctezuma sets these near-mythical figures into earthy relief. But it’s mostly the intrigues and machinations of these leaders’ canny consorts — the Aztec princess Atotoxtli and the conquistadors’ translator Malinalli — that power the plot. Natasha Wimmer’s English translation sharply delivers the novel’s poetic and witty qualities while at the same time reveling in its core theme: the fundamental untranslatability of human experience. \u003cem>— \u003ca href=\"https://www.npr.org/people/1113762078/chloe-veltman\">Chloe Veltman,\u003c/a> correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Mysteries & Thrillers\u003c/h2>\n\u003cfigure id=\"attachment_13960522\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM.png\" alt=\"A book cover featuring a partial close-up of a woman's face and the exterior of a house in the snow.\" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.36.14-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Nightwatching’ by Tracy Sierra. \u003ccite>(Pamela Dorman Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Nightwatching’ by Tracy Sierra\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Nightwatching \u003c/em>begins with a scene straight out of a nightmare: A woman is at home with two sleeping children when she hears the footsteps of an intruder on the stairs. The story that follows is by turns suspenseful, uncomfortable and enraging. Tracy Sierra skillfully uses the home invasion to explore the terrifying responsibility of motherhood and to expose the pure horror of being a woman in a society that does not always choose to believe women. \u003cem>— \u003ca href=\"https://www.npr.org/people/1227635672/julie-rogers\">Julie Rogers,\u003c/a> historian and curator, NPR Research, Archives & Data strategy\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960518\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM.png\" alt=\"A book cover featuring a white house on a red horizon.\" width=\"830\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.33.24-PM-768x1120.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Hunter’ by Tana French. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Hunter’ by Tana French\u003c/strong>\u003c/h2>\n\u003cp>Set in the hills of Western Ireland, this novel picks up the story of characters introduced in 2020’s \u003cem>The Searcher\u003c/em> — retired American detective Cal Hooper and Trey, a teen girl he’s taken under his wing. As French revisits the seemingly bucolic landscape where trouble roils just under the surface, her writing continues to shift from mystery to meditation. While there’s still a knot of questions about crimes — including both fraud and murder — to be untangled, this novel is ultimately about belonging; the ways in which families do, and don’t, owe each other debts; the communities we resist, alienate, or become a welcome part of. Morally shaded and complex, it will leave you thinking about who’s right — and what’s wrong — long after you turn the last page. —\u003cem> Tayla Burney, director, Network Programming & Production\u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Sci Fi, Fantasy, Speculative Fiction & Horror\u003c/h2>\n\u003cfigure id=\"attachment_13960517\" class=\"wp-caption aligncenter\" style=\"max-width: 744px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.31.42-PM.png\" alt=\"A book cover featuring a bird's nest with broken eggs and one that is still intact.\" width=\"744\" height=\"1106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.31.42-PM.png 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.31.42-PM-160x238.png 160w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003cfigcaption class=\"wp-caption-text\">‘Cuckoo’ by Gretchen Felker-Martin. \u003ccite>(Tor Nightfire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Cuckoo’ by Gretchen Felker-Martin\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Cuckoo \u003c/em>is an ingeniously scary novel about a group of kids sent to a conversion camp in the ’90s. There’s the terror of the socially accepted abuse the kids face (both at the camp and at home) because they are queer, but there’s yet another horrifying entity preying on them, and trying to make them — different.\u003c/p>\n\u003cp>Felker-Martin’s sharp novel takes on the particular vulnerability of queer kids and the body-snatching that is conversion therapy, and she does it with equal measures of tenderness and grotesquery. As harrowing and disgusting as it is, I also found it quite insightful and beautiful — and for that reason, \u003cem>Cuckoo \u003c/em>is a great work of horror. \u003cem>— \u003ca href=\"https://www.npr.org/people/959668312/liam-mcbain\">Liam McBain,\u003c/a> associate producer, ‘It’s Been a Minute’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960516\" class=\"wp-caption aligncenter\" style=\"max-width: 874px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM.png\" alt=\"A book cover featuring an illustration of a hand holding a gold chain.\" width=\"874\" height=\"1108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM.png 874w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM-800x1014.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.29.35-PM-768x974.png 768w\" sizes=\"(max-width: 874px) 100vw, 874px\">\u003cfigcaption class=\"wp-caption-text\">‘The Familiar’ by Leigh Bardugo. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Familiar’ by Leigh Bardugo\u003c/strong>\u003c/h2>\n\u003cp>It is the Spanish Golden Age, and kitchen maid Luzia has secrets to hide: her skill at magic and her Jewish heritage. When her employer discovers her spells, Luzia is entered into a tournament to find King Philip, who hopes to increase his military standing, a champion. She is trained by the strange creature Santángel, an immortal with a mysterious past.\u003c/p>\n\u003cp>This is a \u003ca href=\"https://www.npr.org/2024/04/11/1244125050/leigh-bardugo-the-familiar-book-review\">gorgeously lush, vividly written book\u003c/a> that shines with its strong cast of characters. Luzia is a hero you’ll find yourself rooting for right from the start, and the magic system in this world is a breath of fresh air. Once again, Leigh Bardugo proves she never misses the mark when it comes to intricately building fantastical worlds — leaving you thinking about them long after the last page is turned. \u003cem>— \u003ca href=\"https://www.npr.org/people/836937515/hafsa-fathima\">Hafsa Fathima,\u003c/a> production assistant, ‘Pop Culture Happy Hour’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960514\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM.png\" alt=\"A book cover depicting the word 'Husbands' climbing up a ladder.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.26.32-PM-768x1121.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Husbands: A Novel’ by Holly Gramazio. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Husbands: A Novel’ by Holly Gramazio\u003c/strong>\u003c/h2>\n\u003cp>Lauren leaves her London flat for a bachelorette party one night only to discover a husband at home awaiting her return. Not only was she not married when she left for the night, she doesn’t recognize this man. Slowly she works out that he’s not a threat — and that all evidence on her phone, in conversations with friends and neighbors, and in their apartments points to him being fully integrated into her life. And there he is until he goes into the attic and a different husband emerges, slightly — or drastically — altering Lauren’s life. The pattern continues as Lauren searches for metaphysical clues to what’s going on and wrestles with how to know, if she can ever know, which life is right for her. A rare combination of the truly hilarious and profound. \u003cem>— Tayla Burney, director, Network Programming & Production\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960513\" class=\"wp-caption aligncenter\" style=\"max-width: 762px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.24.33-PM.png\" alt=\"A book cover depicting block letters floating in space.\" width=\"762\" height=\"1110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.24.33-PM.png 762w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.24.33-PM-160x233.png 160w\" sizes=\"(max-width: 762px) 100vw, 762px\">\u003cfigcaption class=\"wp-caption-text\">‘The Ministry of Time: A Novel’ by Kaliane Bradley. \u003ccite>(Avid Reader Press/Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Ministry of Time: A Novel’ by Kaliane Bradley\u003c/strong>\u003c/h2>\n\u003cp>You’d think a novel about the bureaucracy of a time-travel government agency might be kinda boring. But from the moment you meet the book’s enigmatic protagonist — as she starts a new job in the UK’s top secret new time travel agency — to the introduction of the dashing Graham Gore, an 1847 arctic explorer plucked through time, you’ll be hooked. Come for the romance, stay for the unraveling of a mystery, the nuanced, genre-bending treatises on race and identity, and the long-lingering ideas on colonialism, empires and the mutability of history. \u003cem>— \u003ca href=\"https://www.npr.org/people/580312943/christina-cala\">Christina Cala,\u003c/a> senior producer, ‘Code Switch’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960509\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM.png\" alt=\"A book cover with small illustrations including the Paris city skyline, the ocean and various plants and flowers.\" width=\"828\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM.png 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM-800x1171.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-28-at-1.21.52-PM-768x1124.png 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">‘A Short Walk Through a Wide World: A Novel’ by Douglas Westerbeke. \u003ccite>(Avid Reader Press/Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘A Short Walk Through a Wide World: A Novel’ by Douglas Westerbeke\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>It’s the year 1885, in Paris, when 9-year-old Aubry Tourvel encounters a mysterious, wooden, puzzle ball: It may be a blessing or a curse, but it most definitely changes her life. Now she needs to keep moving forever; too long in any one town and she will bleed to death. So her life is all travel and adventure, and through her we wonder at the richness of the globe’s markets, towns, forests and deserts. Over many decades, she meets all types of kind and curious people — as well as cruel and uncaring ones. Sometimes Aubry enjoys quick communion with strangers. Other times, she is surrounded but desperately lonely. This is a ravishing, deeply human book that’s in love with the world, with people, with the new — and yet is infused with a deep, futile longing for home.\u003cem> — \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>,\u003c/a>\u003cem> editor and reporter, Culture Desk\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960473/best-fiction-books-summer-2024-npr-staff-picks",
"authors": [
"byline_arts_13960473"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13960569",
"label": "source_arts_13960473"
},
"arts_13960462": {
"type": "posts",
"id": "arts_13960462",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960462",
"score": null,
"sort": [
1719597332000
]
},
"guestAuthors": [],
"slug": "janet-planet-movie-review-zoe-ziegler-nicholson-annie-baker",
"title": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer",
"publishDate": 1719597332,
"format": "standard",
"headTitle": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Amid the current crop of summer movies, I can’t think of one that captures the \u003cem>feeling\u003c/em> of summer more evocatively than \u003cem>Janet Planet. \u003c/em>Much of the story takes place in a rustic house in woodsy Western Massachusetts; by day, sunlight streams in through enormous windows, and at night, chirping crickets flood the soundtrack. The celebrated playwright Annie Baker, here writing and directing her first film, has uncanny powers of observation and a talent for evoking time and place. She also has two memorable lead characters and a sharply funny and moving story to tell.\u003c/p>\n\u003cp>It’s the summer of 1991. The story begins when 11-year-old Lacy, played by the terrific newcomer Zoe Ziegler, calls her mom from camp and demands to be taken home early; her exact words are “I’m gonna kill myself if you don’t come get me.”\u003c/p>\n\u003cp>[aside postid='arts_13960332']Lacy is a shy misfit with big owlish glasses and a flair for deadpan exaggeration. She and her single mom, Janet, who’s played by a subtly luminous Julianne Nicholson, are extremely close, as we can see when Janet duly comes to fetch Lacy and bring her home. Later at their house, Janet puts Lacy to bed and listens to her vent.\u003c/p>\n\u003cp>Baker isn’t one to hurry her characters along. Her plays — the best known of which is her Pulitzer-winning 2013 drama, \u003cem>The Flick\u003c/em> — have been justly praised for bringing a new kind of naturalism to the stage, especially in the way the actors retain the stammers and silences of normal conversation. She brings that same sensibility to \u003cem>Janet Planet\u003c/em>.\u003c/p>\n\u003cp>Baker includes a few loving nods to her background in theater; at various points, Lacy plays with a small puppet theater, complete with handmade clay figurines, and in a later scene, she and Janet attend an outdoor performance featuring actors in elaborate costumes. But the movie never feels stagey. It was shot on 16-millimeter film by Maria von Hausswolff, who previously filmed the visually stunning Icelandic drama \u003cem>Godland\u003c/em>, and her use of natural light and precise, fine-grained details feel transportingly cinematic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_aBF_v0gvpQ\u003c/p>\n\u003cp>The movie is divided into three loose chapters, each one focused on a friend or significant other of Janet’s who becomes a houseguest for a spell. First up is her boyfriend Wayne, played by a gruff Will Patton, who has a daughter around Lacy’s age but doesn’t take too kindly to Lacy herself. He’s soon out the door.\u003c/p>\n\u003cp>In the second chapter we meet Regina, played by a wonderful Sophie Okonedo, a free-spirited drifter who comes to stay with Janet and Lacy after leaving a local hippie commune — basically a cult, though everyone is careful not to use that word. Regina initially brings a breath of fresh air into the house, though she proves insensitive and tactless, especially around Janet, and soon overstays her welcome.\u003c/p>\n\u003cp>[aside postid='arts_13960151']The third houseguest — Avi, played by Elias Koteas — is Regina’s ex-partner and the leader of that hippie commune. Avi is the most mysterious presence in the movie, and it’s through his short-lived relationship with Janet that we fully grasp how profoundly unhappy she is.\u003c/p>\n\u003cp>The title \u003cem>Janet Planet\u003c/em> has many meanings — it’s the name of the acupuncture studio that Janet operates out of the house. It’s also a passing reference to the nickname that \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\" target=\"15396571\" rel=\"noopener\">Van Morrison\u003c/a> gave the songwriter Janet Rigsbee, who inspired a lot of his love songs during their five-year marriage. But the title is most meaningful as it frames our understanding of Janet, whose quiet magnetism really does seem to draw other people, especially men, into her orbit. As we see in Nicholson’s heartbreaking performance, it’s been as much a curse as it is a blessing.\u003c/p>\n\u003cp>One of the movie’s subtlest achievements is the way it clues us into Janet’s perspective, even as it keeps Janet herself at a bit of a distance. Much of the time we’re studying Janet through Lacy’s eyes, and what’s uncanny is the way Baker captures a sense of the girl’s growing disillusionment — that intensely specific moment when a child begins to see even a doting parent in a clear and not always flattering new light. By the end of \u003cem>Janet Planet\u003c/em>, not much has happened, and yet something momentous seems to have taken place. You want Baker to return to these characters, to show us how Janet and Lacy continue to change and grow, together and apart, in the years — and the summers — to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Janet Planet’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Writing and directing her first film, playwright Annie Baker exhibits uncanny powers of observation.",
"status": "publish",
"parent": 0,
"modified": 1719597332,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 817
},
"headData": {
"title": "‘Janet Planet’ Review: A Sharply Funny Family Drama | KQED",
"description": "Writing and directing her first film, playwright Annie Baker exhibits uncanny powers of observation.",
"ogTitle": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Janet Planet’ Review: A Sharply Funny Family Drama%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer",
"datePublished": "2024-06-28T10:55:32-07:00",
"dateModified": "2024-06-28T10:55:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Justin Chang, NPR",
"nprStoryId": "nx-s1-5019399",
"nprHtmlLink": "https://www.npr.org/2024/06/27/nx-s1-5019399/sharply-funny-janet-planet-perfectly-captures-the-feel-of-a-long-hot-summer",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-27T13:01:53.504-04:00",
"nprStoryDate": "2024-06-27T13:01:53.504-04:00",
"nprLastModifiedDate": "2024-06-28T13:29:35.208-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960462/janet-planet-movie-review-zoe-ziegler-nicholson-annie-baker",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid the current crop of summer movies, I can’t think of one that captures the \u003cem>feeling\u003c/em> of summer more evocatively than \u003cem>Janet Planet. \u003c/em>Much of the story takes place in a rustic house in woodsy Western Massachusetts; by day, sunlight streams in through enormous windows, and at night, chirping crickets flood the soundtrack. The celebrated playwright Annie Baker, here writing and directing her first film, has uncanny powers of observation and a talent for evoking time and place. She also has two memorable lead characters and a sharply funny and moving story to tell.\u003c/p>\n\u003cp>It’s the summer of 1991. The story begins when 11-year-old Lacy, played by the terrific newcomer Zoe Ziegler, calls her mom from camp and demands to be taken home early; her exact words are “I’m gonna kill myself if you don’t come get me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lacy is a shy misfit with big owlish glasses and a flair for deadpan exaggeration. She and her single mom, Janet, who’s played by a subtly luminous Julianne Nicholson, are extremely close, as we can see when Janet duly comes to fetch Lacy and bring her home. Later at their house, Janet puts Lacy to bed and listens to her vent.\u003c/p>\n\u003cp>Baker isn’t one to hurry her characters along. Her plays — the best known of which is her Pulitzer-winning 2013 drama, \u003cem>The Flick\u003c/em> — have been justly praised for bringing a new kind of naturalism to the stage, especially in the way the actors retain the stammers and silences of normal conversation. She brings that same sensibility to \u003cem>Janet Planet\u003c/em>.\u003c/p>\n\u003cp>Baker includes a few loving nods to her background in theater; at various points, Lacy plays with a small puppet theater, complete with handmade clay figurines, and in a later scene, she and Janet attend an outdoor performance featuring actors in elaborate costumes. But the movie never feels stagey. It was shot on 16-millimeter film by Maria von Hausswolff, who previously filmed the visually stunning Icelandic drama \u003cem>Godland\u003c/em>, and her use of natural light and precise, fine-grained details feel transportingly cinematic.\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/_aBF_v0gvpQ'\n title='//www.youtube.com/embed/_aBF_v0gvpQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie is divided into three loose chapters, each one focused on a friend or significant other of Janet’s who becomes a houseguest for a spell. First up is her boyfriend Wayne, played by a gruff Will Patton, who has a daughter around Lacy’s age but doesn’t take too kindly to Lacy herself. He’s soon out the door.\u003c/p>\n\u003cp>In the second chapter we meet Regina, played by a wonderful Sophie Okonedo, a free-spirited drifter who comes to stay with Janet and Lacy after leaving a local hippie commune — basically a cult, though everyone is careful not to use that word. Regina initially brings a breath of fresh air into the house, though she proves insensitive and tactless, especially around Janet, and soon overstays her welcome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960151",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The third houseguest — Avi, played by Elias Koteas — is Regina’s ex-partner and the leader of that hippie commune. Avi is the most mysterious presence in the movie, and it’s through his short-lived relationship with Janet that we fully grasp how profoundly unhappy she is.\u003c/p>\n\u003cp>The title \u003cem>Janet Planet\u003c/em> has many meanings — it’s the name of the acupuncture studio that Janet operates out of the house. It’s also a passing reference to the nickname that \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\" target=\"15396571\" rel=\"noopener\">Van Morrison\u003c/a> gave the songwriter Janet Rigsbee, who inspired a lot of his love songs during their five-year marriage. But the title is most meaningful as it frames our understanding of Janet, whose quiet magnetism really does seem to draw other people, especially men, into her orbit. As we see in Nicholson’s heartbreaking performance, it’s been as much a curse as it is a blessing.\u003c/p>\n\u003cp>One of the movie’s subtlest achievements is the way it clues us into Janet’s perspective, even as it keeps Janet herself at a bit of a distance. Much of the time we’re studying Janet through Lacy’s eyes, and what’s uncanny is the way Baker captures a sense of the girl’s growing disillusionment — that intensely specific moment when a child begins to see even a doting parent in a clear and not always flattering new light. By the end of \u003cem>Janet Planet\u003c/em>, not much has happened, and yet something momentous seems to have taken place. You want Baker to return to these characters, to show us how Janet and Lacy continue to change and grow, together and apart, in the years — and the summers — to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Janet Planet’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960462/janet-planet-movie-review-zoe-ziegler-nicholson-annie-baker",
"authors": [
"byline_arts_13960462"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_8905",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13960463",
"label": "arts_140"
},
"arts_13960383": {
"type": "posts",
"id": "arts_13960383",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960383",
"score": null,
"sort": [
1719515197000
]
},
"guestAuthors": [],
"slug": "the-bear-season-3-tv-review-jeremy-allen-white-ayo-edebiri-hulu-fx",
"title": "In ‘The Bear’ Season 3, Experimentation Is Still on the Menu",
"publishDate": 1719515197,
"format": "standard",
"headTitle": "In ‘The Bear’ Season 3, Experimentation Is Still on the Menu | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>Season 3 of The Bear is out now from FX on Hulu. The review below contains details from the season.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>is a show about scars and ghosts, because it is in so many ways a show about consequences and grief. Not all the scars are visible, of course, and not all the ghosts are dead.\u003c/p>\n\u003cp>At the opening of the excellent third season, we find Carmy (Jeremy Allen White) alone in the dark, the morning after his new restaurant’s tryout night, staring at a gnarly old scar on his palm and thinking about people who aren’t there. People who have died, but also people he’s hurt, people he doesn’t know how to talk to, people who have changed him for good and for ill.\u003c/p>\n\u003cp>[aside postid='arts_13960144']The episode unfolds from there not in a straight line but as a looping, layered look at multiple pieces of Carmy’s life that sit on top of each other like a stack of pancakes you can cut through and expose all at once. One is this difficult morning after he got locked in the walk-in fridge. Some involve events in his family — Mikey’s death and telling Nat goodbye when he moved to New York years ago. Some involve Claire (Molly Gordon), whom he kisses in quick flashes. But mostly, we watch Carmy’s experiences in various kitchens in Chicago, on the east and west coasts, and in Copenhagen. We watch him and Luca (Will Poulter) working for chef Terry (Olivia Colman). We see him learn from chefs Daniel Boulud, Rene Redzepi and Thomas Keller, all of whom appear as themselves. We see more of the damage that was inflicted on him by the cruel New York chef played by Joel McHale.\u003c/p>\n\u003cp>While it doesn’t offer up the same pleasures we’re used to, like seeing this big cast yell back and forth, the episode is an example of \u003cem>The Bear\u003c/em>‘s greatest strength. Despite its success, the show is creatively restless, always. This is not a conventional episode of TV, let alone a conventional season opener. It’s moody and disorienting, it doesn’t advance the plot a whole lot, and it may take a couple of viewings to understand where in time you’re located. If episodes dropped one at a time, this opener might leave an audience cold. But with multiple episodes available at once, including a much more typical second episode where the restaurant is trying to get ready for its real opening night, creator Christopher Storer and the rest of the creative team can get away with this kind of experimentation, and so they do it.\u003c/p>\n\u003cfigure id=\"attachment_13960386\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png\" alt=\"A middle-aged white man with a scruffy beard stands with his head close to a closed door.\" width=\"1292\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-800x428.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-1020x546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-768x411.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ebon Moss-Bachrach as Cousin Richie. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same is true of the episodes that step away from Carmy and Sydney and Richie, even though those three characters are so beloved and mesmerizing. There aren’t any epics in this season on the scale of season two’s brilliant “Forks” and “Fishes,” but there are more intimate opportunities to visit with the rest of the cast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ayo Edebiri (who plays Sydney) directs “Napkins,” a standout episode about Tina (Liza Colón-Zayas). Not for nothing, “Napkins” also includes the strongest scene the show has ever done with Mikey (Jon Bernthal), \u003cem>The Bear\u003c/em>‘s greatest ghost of all. Abby Elliott and Jamie Lee Curtis hold down “Ice Chips,” in which Nat’s mother, Donna — also, in her way, a ghost — is not the person Nat wants on hand as she prepares to give birth, but Donna is who she’s got.\u003c/p>\n\u003cp>It’s this constant push-push-push against the obvious next move that makes \u003cem>The Bear \u003c/em>compelling. What earned so much praise in the first season was the grimy, loving clamor of The Beef, so they abandoned it for the team’s pivot to fine dining in season 2, which opened up new possibilities for stories about learning and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13959918']And now that The Bear exists and can serve food, the focus shifts again. Because what’s at stake, particularly in the late part of this third season, are questions about creativity and excellence. There is, in the real world, a \u003ca href=\"https://www.harpercollins.com/products/burn-it-down-maureen-ryan?variant=41105489330210\">push to de-romanticize\u003c/a> abusive behaviors that have long been written off as part of an initiation process that one has to endure in order to become great. And \u003cem>The Bear \u003c/em>dives headlong into its own exploration of toxicity and hard work without ever stepping over the line into didactic posturing. Instead, it goes back to those two big weapons that give it the gravity and emotional scale it maintained over its first two seasons: scars and ghosts.\u003c/p>\n\u003cp>Carmy’s industry ghosts are good and bad. He has worked for Chef Terry, who is kind and creates an environment of high standards but humane treatment — and her restaurant, Ever, transformed Richie’s life, too. But Carmy has also worked for the abusive nightmare of a boss played by Joel McHale. The scars from that job are in his anxiety and self-flagellation, but also in little habits like the neatly cut labeling tape that he attaches to deli containers and the handles of saucepans.\u003c/p>\n\u003cp>It would be lovely to believe Carmy could never become Joel McHale. But when he unveils his list of “non-negotiables” for The Bear, it’s less the items on the list and more the way he delivers the list — as an impatient authoritarian — that seems ominous. He has become obsessed with getting a Michelin star, and declares that the menu will change every single day, which upends the economics of the business and the work that’s done by Sydney, Richie, Nat, Tina, Marcus, and everybody else who works there.\u003c/p>\n\u003cfigure id=\"attachment_13960387\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png\" alt=\"A Black woman stands in a kitchen looking stressed. She is wearing a white t-shirt and black apron.\" width=\"1292\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-800x437.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-1020x557.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-768x420.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is also a very strong season for Sydney and Richie. Edebiri perfectly captures Sydney’s hesitation about attaching herself to Carmy as his obsessive focus on quality and achievement turns self-destructive. And Richie (Ebon Moss-Bachrach), who discovered he was a born fine-dining service guy when he staged at Ever, finds himself trying to protect his dining room and his right to run it. It’s their complicated love for Carmy (and each other), as well as his for them, that makes all of this feel so emotionally urgent.\u003c/p>\n\u003cp>[aside postid='arts_13959577']The idea of Carmy becoming one of Sydney’s unhappy ghosts, after all, is almost too much to take, and the lack of reconciliation after the bitter fight between Carmy and Richie through the walk-in door casts a pall over any success they have together. (The character of Claire, who felt under-written even last season, is a far less effective emotional lever, particularly now, when she is almost entirely talked about but never seen.)\u003c/p>\n\u003cp>There are, of course, things in the season that don’t work quite so well, though most of them feel less like failure than like excess. There is a little too much of the Fak family, headed by Neil, played by Matty Matheson. Neil is a brilliant creation, played brilliantly, and when he’s part of conversations with the whole staff, his presence is critical to getting the balance of those scenes right. But as the Faks multiply over the course of this season, they get a little too silly, and they also are the source of the only guest appearance out of \u003cem>many \u003c/em>big ones in the show’s history that has ever tipped over into feeling like stunt casting — into seemingly doing a thing just to do it.\u003c/p>\n\u003cfigure id=\"attachment_13960388\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png\" alt=\"Close up of a rotund man with a moustache and tattooed head.\" width=\"1290\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-768x527.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Matty Matheson as Neil Fak. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are also getting diminishing returns by the end of this season from the frequent appearances by real chefs. A lesson to Carmy from Thomas Keller goes on for too long, and a late-season gathering of real chefs, while it has its delights, also feels indulgent. It’s understandable that the show wants to make a spectacle of how beloved it is by the real food world and how much star chefs want to elbow their way into episodes. But unsurprisingly, \u003cem>The Bear\u003c/em> gets its best acting work from actors. And detouring into celebrity cameos is tricky at a moment when time with the main cast feels precious and the story is gaining steam.\u003c/p>\n\u003cp>[aside postid='arts_13959635']Speaking of which: This is not really a season; it is half a season. It ends with a cliffhanger, “To Be Continued.” It doesn’t resolve either the main plot threads or the emotional tangles that have been built over these ten episodes. That’s a choice the people behind the show have made, and it candidly seems like a perilous one for a project that presumably won’t come back for many months. Because of the exceptional acting and writing, they will perhaps get away with the anticlimax of it (so different from the big thunderclaps of the last two seasons ending), but it might have worked better to give \u003cem>some \u003c/em>resolution to \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>All in all, though, this remains a tremendously creative, audacious show that is full of pleasures both expected and unexpected. The fact that it doesn’t repeat its successes as much as it tries to reshape itself each time around is perhaps like Carmy’s ever-changing menu: It can lead to a certain number of misfires, but it’s a way to show and share all that you can do.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All Season 3 episodes of ‘The Bear’ are streaming now via FX and Hulu.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In its third season, the focus of ‘The Bear’ is on running a fine-dining restaurant. As usual, scars and ghosts lurk close by.",
"status": "publish",
"parent": 0,
"modified": 1719515492,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1654
},
"headData": {
"title": "Analyzing ‘The Bear’ Season 3: Scars and Ghosts Abound | KQED",
"description": "In its third season, the focus of ‘The Bear’ is on running a fine-dining restaurant. As usual, scars and ghosts lurk close by.",
"ogTitle": "In ‘The Bear’ Season 3, Experimentation Is Still on the Menu",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In ‘The Bear’ Season 3, Experimentation Is Still on the Menu",
"twDescription": "",
"twImgId": "",
"socialTitle": "Analyzing ‘The Bear’ Season 3: Scars and Ghosts Abound %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘The Bear’ Season 3, Experimentation Is Still on the Menu",
"datePublished": "2024-06-27T12:06:37-07:00",
"dateModified": "2024-06-27T12:11:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes, NPR",
"nprStoryId": "nx-s1-5015719",
"nprHtmlLink": "https://www.npr.org/2024/06/27/nx-s1-5015719/the-bear-season-3-review-fx-hulu",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-27T03:00:00-04:00",
"nprStoryDate": "2024-06-27T03:00:00-04:00",
"nprLastModifiedDate": "2024-06-27T03:00:15.517-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960383/the-bear-season-3-tv-review-jeremy-allen-white-ayo-edebiri-hulu-fx",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Season 3 of The Bear is out now from FX on Hulu. The review below contains details from the season.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>is a show about scars and ghosts, because it is in so many ways a show about consequences and grief. Not all the scars are visible, of course, and not all the ghosts are dead.\u003c/p>\n\u003cp>At the opening of the excellent third season, we find Carmy (Jeremy Allen White) alone in the dark, the morning after his new restaurant’s tryout night, staring at a gnarly old scar on his palm and thinking about people who aren’t there. People who have died, but also people he’s hurt, people he doesn’t know how to talk to, people who have changed him for good and for ill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960144",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The episode unfolds from there not in a straight line but as a looping, layered look at multiple pieces of Carmy’s life that sit on top of each other like a stack of pancakes you can cut through and expose all at once. One is this difficult morning after he got locked in the walk-in fridge. Some involve events in his family — Mikey’s death and telling Nat goodbye when he moved to New York years ago. Some involve Claire (Molly Gordon), whom he kisses in quick flashes. But mostly, we watch Carmy’s experiences in various kitchens in Chicago, on the east and west coasts, and in Copenhagen. We watch him and Luca (Will Poulter) working for chef Terry (Olivia Colman). We see him learn from chefs Daniel Boulud, Rene Redzepi and Thomas Keller, all of whom appear as themselves. We see more of the damage that was inflicted on him by the cruel New York chef played by Joel McHale.\u003c/p>\n\u003cp>While it doesn’t offer up the same pleasures we’re used to, like seeing this big cast yell back and forth, the episode is an example of \u003cem>The Bear\u003c/em>‘s greatest strength. Despite its success, the show is creatively restless, always. This is not a conventional episode of TV, let alone a conventional season opener. It’s moody and disorienting, it doesn’t advance the plot a whole lot, and it may take a couple of viewings to understand where in time you’re located. If episodes dropped one at a time, this opener might leave an audience cold. But with multiple episodes available at once, including a much more typical second episode where the restaurant is trying to get ready for its real opening night, creator Christopher Storer and the rest of the creative team can get away with this kind of experimentation, and so they do it.\u003c/p>\n\u003cfigure id=\"attachment_13960386\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png\" alt=\"A middle-aged white man with a scruffy beard stands with his head close to a closed door.\" width=\"1292\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-800x428.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-1020x546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-768x411.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ebon Moss-Bachrach as Cousin Richie. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same is true of the episodes that step away from Carmy and Sydney and Richie, even though those three characters are so beloved and mesmerizing. There aren’t any epics in this season on the scale of season two’s brilliant “Forks” and “Fishes,” but there are more intimate opportunities to visit with the rest of the cast.\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>Ayo Edebiri (who plays Sydney) directs “Napkins,” a standout episode about Tina (Liza Colón-Zayas). Not for nothing, “Napkins” also includes the strongest scene the show has ever done with Mikey (Jon Bernthal), \u003cem>The Bear\u003c/em>‘s greatest ghost of all. Abby Elliott and Jamie Lee Curtis hold down “Ice Chips,” in which Nat’s mother, Donna — also, in her way, a ghost — is not the person Nat wants on hand as she prepares to give birth, but Donna is who she’s got.\u003c/p>\n\u003cp>It’s this constant push-push-push against the obvious next move that makes \u003cem>The Bear \u003c/em>compelling. What earned so much praise in the first season was the grimy, loving clamor of The Beef, so they abandoned it for the team’s pivot to fine dining in season 2, which opened up new possibilities for stories about learning and self-actualization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959918",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And now that The Bear exists and can serve food, the focus shifts again. Because what’s at stake, particularly in the late part of this third season, are questions about creativity and excellence. There is, in the real world, a \u003ca href=\"https://www.harpercollins.com/products/burn-it-down-maureen-ryan?variant=41105489330210\">push to de-romanticize\u003c/a> abusive behaviors that have long been written off as part of an initiation process that one has to endure in order to become great. And \u003cem>The Bear \u003c/em>dives headlong into its own exploration of toxicity and hard work without ever stepping over the line into didactic posturing. Instead, it goes back to those two big weapons that give it the gravity and emotional scale it maintained over its first two seasons: scars and ghosts.\u003c/p>\n\u003cp>Carmy’s industry ghosts are good and bad. He has worked for Chef Terry, who is kind and creates an environment of high standards but humane treatment — and her restaurant, Ever, transformed Richie’s life, too. But Carmy has also worked for the abusive nightmare of a boss played by Joel McHale. The scars from that job are in his anxiety and self-flagellation, but also in little habits like the neatly cut labeling tape that he attaches to deli containers and the handles of saucepans.\u003c/p>\n\u003cp>It would be lovely to believe Carmy could never become Joel McHale. But when he unveils his list of “non-negotiables” for The Bear, it’s less the items on the list and more the way he delivers the list — as an impatient authoritarian — that seems ominous. He has become obsessed with getting a Michelin star, and declares that the menu will change every single day, which upends the economics of the business and the work that’s done by Sydney, Richie, Nat, Tina, Marcus, and everybody else who works there.\u003c/p>\n\u003cfigure id=\"attachment_13960387\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png\" alt=\"A Black woman stands in a kitchen looking stressed. She is wearing a white t-shirt and black apron.\" width=\"1292\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-800x437.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-1020x557.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-768x420.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is also a very strong season for Sydney and Richie. Edebiri perfectly captures Sydney’s hesitation about attaching herself to Carmy as his obsessive focus on quality and achievement turns self-destructive. And Richie (Ebon Moss-Bachrach), who discovered he was a born fine-dining service guy when he staged at Ever, finds himself trying to protect his dining room and his right to run it. It’s their complicated love for Carmy (and each other), as well as his for them, that makes all of this feel so emotionally urgent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The idea of Carmy becoming one of Sydney’s unhappy ghosts, after all, is almost too much to take, and the lack of reconciliation after the bitter fight between Carmy and Richie through the walk-in door casts a pall over any success they have together. (The character of Claire, who felt under-written even last season, is a far less effective emotional lever, particularly now, when she is almost entirely talked about but never seen.)\u003c/p>\n\u003cp>There are, of course, things in the season that don’t work quite so well, though most of them feel less like failure than like excess. There is a little too much of the Fak family, headed by Neil, played by Matty Matheson. Neil is a brilliant creation, played brilliantly, and when he’s part of conversations with the whole staff, his presence is critical to getting the balance of those scenes right. But as the Faks multiply over the course of this season, they get a little too silly, and they also are the source of the only guest appearance out of \u003cem>many \u003c/em>big ones in the show’s history that has ever tipped over into feeling like stunt casting — into seemingly doing a thing just to do it.\u003c/p>\n\u003cfigure id=\"attachment_13960388\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png\" alt=\"Close up of a rotund man with a moustache and tattooed head.\" width=\"1290\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-768x527.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Matty Matheson as Neil Fak. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are also getting diminishing returns by the end of this season from the frequent appearances by real chefs. A lesson to Carmy from Thomas Keller goes on for too long, and a late-season gathering of real chefs, while it has its delights, also feels indulgent. It’s understandable that the show wants to make a spectacle of how beloved it is by the real food world and how much star chefs want to elbow their way into episodes. But unsurprisingly, \u003cem>The Bear\u003c/em> gets its best acting work from actors. And detouring into celebrity cameos is tricky at a moment when time with the main cast feels precious and the story is gaining steam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959635",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of which: This is not really a season; it is half a season. It ends with a cliffhanger, “To Be Continued.” It doesn’t resolve either the main plot threads or the emotional tangles that have been built over these ten episodes. That’s a choice the people behind the show have made, and it candidly seems like a perilous one for a project that presumably won’t come back for many months. Because of the exceptional acting and writing, they will perhaps get away with the anticlimax of it (so different from the big thunderclaps of the last two seasons ending), but it might have worked better to give \u003cem>some \u003c/em>resolution to \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>All in all, though, this remains a tremendously creative, audacious show that is full of pleasures both expected and unexpected. The fact that it doesn’t repeat its successes as much as it tries to reshape itself each time around is perhaps like Carmy’s ever-changing menu: It can lead to a certain number of misfires, but it’s a way to show and share all that you can do.\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>All Season 3 episodes of ‘The Bear’ are streaming now via FX and Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960383/the-bear-season-3-tv-review-jeremy-allen-white-ayo-edebiri-hulu-fx",
"authors": [
"byline_arts_13960383"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8905",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13960384",
"label": "arts_140"
},
"arts_13960378": {
"type": "posts",
"id": "arts_13960378",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960378",
"score": null,
"sort": [
1719509374000
]
},
"guestAuthors": [],
"slug": "a-quiet-place-day-one-movie-review-prequel-lupita-nyongo",
"title": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"publishDate": 1719509374,
"format": "standard",
"headTitle": "Shhhh… the Novelty is Gone in ‘A Quiet Place’ Prequel | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>[aside postid='arts_13960151']There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-WIb4ATfT8\u003c/p>\n\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13960332']Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Day One’ is an unnecessary movie about a few new characters in New York on the first day of the invasion. ",
"status": "publish",
"parent": 0,
"modified": 1719509374,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 585
},
"headData": {
"title": "Movie Review: ‘A Quiet Place: Day One’ Lets Down the Franchise | KQED",
"description": "‘Day One’ is an unnecessary movie about a few new characters in New York on the first day of the invasion. ",
"ogTitle": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘A Quiet Place: Day One’ Lets Down the Franchise %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shhhh... the Novelty is Gone in ‘A Quiet Place’ Prequel",
"datePublished": "2024-06-27T10:29:34-07:00",
"dateModified": "2024-06-27T10:29:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13960378",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960378/a-quiet-place-day-one-movie-review-prequel-lupita-nyongo",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960151",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E-WIb4ATfT8'\n title='//www.youtube.com/embed/E-WIb4ATfT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960378/a-quiet-place-day-one-movie-review-prequel-lupita-nyongo",
"authors": [
"byline_arts_13960378"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5087",
"arts_769"
],
"featImg": "arts_13960380",
"label": "arts"
},
"arts_13960332": {
"type": "posts",
"id": "arts_13960332",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960332",
"score": null,
"sort": [
1719424324000
]
},
"guestAuthors": [],
"slug": "daddio-movie-review-dakota-johnson-sean-penn-cab-christy-hall",
"title": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"publishDate": 1719424324,
"format": "aside",
"headTitle": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13960333\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png\" alt=\"A male taxi driver looks over his shoulder and looks at the woman in the back of his cab.\" width=\"1698\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1536x1022.png 1536w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Dakota Johnson and Sean Penn star in ‘Daddio.’ \u003ccite>(Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s late at night when Dakota Johnson hops into a yellow taxicab at Kennedy airport in the new film \u003cem>Daddio\u003c/em>. She’s just going home to Manhattan, 44th Street, between 9th and 10th avenues. And her cab driver (Sean Penn) decides to strike up a conversation that will last the duration of this nearly 100-minute ride. There is no “quiet” setting cab.\u003c/p>\n\u003cp>This is not a horror movie, though for some a chatty driver on an unexpectedly long trip might be close. It’s not the beginning of a wild \u003cem>Collateral\u003c/em>-style night either. No, these two people from different generations, different life experiences and different classes just talk about everything — life, mistakes, technology, human nature, what makes a New Yorker, absentee fathers, affairs, human nature and love.\u003c/p>\n\u003cp>[aside postid='arts_13959268']\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PJrr2amlFyc\u003c/p>\n\u003cp>Clark is one of those self-proclaimed truth-tellers who believes in his ability to read a person immediately, well-honed after 20 years of driving taxis in New York. He lures his passenger in with flattery about her New York savvy (giving cross streets instead of an address and not worrying about the meter) and shocks her when he’s able to immediately discern that the person she’s dating, and texting, is married. Her guard up a bit at the beginning with short, impersonal responses to Clark, who would ungenerously be described as a chronic mansplainer, but pretty soon they’re both in a therapy session (though mostly for her).\u003c/p>\n\u003cp>[aside postid='arts_13960040']It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Playwright Christy Hall’s movie debut is a captivating musing on connection, empathy and intergenerational schisms.",
"status": "publish",
"parent": 0,
"modified": 1719424324,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 610
},
"headData": {
"title": "‘Daddio’ Review: Dakota Johnson, Sean Penn Take a Moving Ride | KQED",
"description": "Playwright Christy Hall’s movie debut is a captivating musing on connection, empathy and intergenerational schisms.",
"ogTitle": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Daddio’ Review: Dakota Johnson, Sean Penn Take a Moving Ride %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
"datePublished": "2024-06-26T10:52:04-07:00",
"dateModified": "2024-06-26T10:52:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13960332",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960332/daddio-movie-review-dakota-johnson-sean-penn-cab-christy-hall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960333\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png\" alt=\"A male taxi driver looks over his shoulder and looks at the woman in the back of his cab.\" width=\"1698\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1536x1022.png 1536w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Dakota Johnson and Sean Penn star in ‘Daddio.’ \u003ccite>(Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s late at night when Dakota Johnson hops into a yellow taxicab at Kennedy airport in the new film \u003cem>Daddio\u003c/em>. She’s just going home to Manhattan, 44th Street, between 9th and 10th avenues. And her cab driver (Sean Penn) decides to strike up a conversation that will last the duration of this nearly 100-minute ride. There is no “quiet” setting cab.\u003c/p>\n\u003cp>This is not a horror movie, though for some a chatty driver on an unexpectedly long trip might be close. It’s not the beginning of a wild \u003cem>Collateral\u003c/em>-style night either. No, these two people from different generations, different life experiences and different classes just talk about everything — life, mistakes, technology, human nature, what makes a New Yorker, absentee fathers, affairs, human nature and love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959268",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PJrr2amlFyc'\n title='//www.youtube.com/embed/PJrr2amlFyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clark is one of those self-proclaimed truth-tellers who believes in his ability to read a person immediately, well-honed after 20 years of driving taxis in New York. He lures his passenger in with flattery about her New York savvy (giving cross streets instead of an address and not worrying about the meter) and shocks her when he’s able to immediately discern that the person she’s dating, and texting, is married. Her guard up a bit at the beginning with short, impersonal responses to Clark, who would ungenerously be described as a chronic mansplainer, but pretty soon they’re both in a therapy session (though mostly for her).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960040",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960332/daddio-movie-review-dakota-johnson-sean-penn-cab-christy-hall",
"authors": [
"byline_arts_13960332"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_13090",
"arts_769",
"arts_585"
],
"featImg": "arts_13960334",
"label": "arts_140"
},
"arts_13960317": {
"type": "posts",
"id": "arts_13960317",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960317",
"score": null,
"sort": [
1719410842000
]
},
"guestAuthors": [],
"slug": "cue-the-sun-by-emily-nussbaum-book-review-reality-tv",
"title": "'Cue the Sun!' Is a Riveting History of Reality TV",
"publishDate": 1719410842,
"format": "aside",
"headTitle": "‘Cue the Sun!’ Is a Riveting History of Reality TV | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13960318\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg\" alt=\"A book cover showing a family gathered around a pool being filmed by TV cameras. \" width=\"810\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-768x1024.jpeg 768w\" sizes=\"auto, (max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulitzer Prize-winning \u003cem>New Yorker\u003c/em> critic Emily Nussbaum first conceived her sweeping chronicle of the rise of reality TV in 2003 — shortly after the debut of \u003cem>The Bachelor \u003c/em>and three years into \u003cem>Survivor\u003c/em>. But back then the reception from fellow writers was as icy as public attitudes towards the genre. “You better write that one fast,” she recalls a friend warning her. “Reality television was a fad … a bubble that would pop before I could get anything on the page.”\u003c/p>\n\u003cp>Twenty years later, Nussbaum’s \u003cem>Cue the Sun!: The Invention of Reality TV\u003c/em> is a near definitive history of the genre that forever changed American entertainment. The book’s 20-year journey to publication is a tiny mirror of its subject’s rise to the center of American culture. As Nussbaum shows, “Critics had written off reality programming as a fad back in the 1940s, when mouthy civilians first shook up the economics of radio; and in the 1970s, during the flareups over \u003cem>An American Family \u003c/em>and \u003cem>The Gong Show\u003c/em>; and then again in the 1990s, when Fox and MTV set out to disrupt the major networks.”\u003c/p>\n\u003cp>[aside postid='arts_13960267']The dismissive pattern continued for decades — and critics were wrong every time. The much maligned reality genre has “always been a trap” for someone in Nussbaum’s profession — as a critic you would either “clutch your pearls,” failing to “see the fun in it” or succumb to the temptation to “treat reality too lightly.”\u003c/p>\n\u003cp>Across 14 chapters, Nussbaum successfully walks a tightrope. Avoiding censure and trivialization, her narrative keenly captures the reality genre “through the voices of the people who built it” — “step by step, experiment by experiment” in riveting, energetic detail. Determined to see it as the makers and audiences did, and to translate the genre’s diversity, appeal and significance to the page, Nussbaum conducted interviews with a staggering 300 people who worked in every conceivable capacity — from network executives to show creators to crafts people and cast members — on some of the most important reality shows.\u003c/p>\n\u003cp>From these interviews, Nussbaum fashions a compelling oral history, transforming the scattered highs, lows, and tipping points of a genre constantly in flux into a cohesive exploration of the invention, evolution and importance of the modern reality show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As juicy and provocative as it is analytical, \u003cem>Cue the Sun!\u003c/em> exposes the seamy underbelly of reality TV where that’s needed but also corrects unduly negative, and unfounded, assumptions. For example, on the motivations of the people who become the casts of these shows, Nussbaum concludes: “For many people, doing this kind of television wasn’t a naïve misstep at all — it was a conscious choice to participate in an extreme sport, one whose risks they embraced.” This insight emerges as a common theme across most of these chapters in the voices of wildly diverse on-screen participants — across programs as disparate as the 1970s \u003cem>An American Family\u003c/em>, \u003cem>Who Wants to Marry a Multimillionaire\u003c/em>, and \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>While many critics have painted reality TV in broad strokes, Nussbaum captures fascinating complexity and nuance. Perhaps the most poignant chapter focuses on PBS’s pioneering precursor to modern reality programming. The tip of the spear in an emerging genre dubbed the “dirty documentary,” in a single season \u003cem>An American Family\u003c/em> exploded the traditional nuclear ideal through California’s prosperous Loud family.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Putting a microscope to five teenage kids and two parents at odds, for seven months, the show delivered a microcosm of America’s rapid cultural shifts as the Louds navigated infidelity, a son’s sexuality, and divorce. While the filmmakers played it straight, according to Nussbaum, the Louds felt stung by the 24/7 cameras and scathing public reaction. It was a startling precursor of what was to come.\u003c/p>\n\u003cp>Decades later, with the possible exception of a \u003cem>Dating Game\u003c/em> contestant who turned out to be a serial killer, perhaps no episode is as jaw-dropping as the story of \u003cem>Survivor\u003c/em>. Nussbaum’s storytelling reaches the height of its powers in a blow by blow of \u003cem>Survivor\u003c/em> season one that will give you the creepy crawlies: fleas under the skin, snakes on the belly, parasites in the intestines. But it’s hard to figure what’s more treacherous, the wildlife or the humans committed to making compelling TV at any cost.\u003c/p>\n\u003cp>Despite the book’s strengths, at crucial times the accounts of insiders prove insufficient; context and a critical counterpoint are needed. But in its commitment to handing the mic to the makers, the book eschews outside perspectives. There are exceptions: With \u003cem>An American Family,\u003c/em> we gain insight into the challenge of being gay man on TV in the ’70s through snippets of contemporaneous media and viewer letters. The book also nods to criticism of \u003cem>Queer Eye for the Straight Guy \u003c/em>from the gay community.\u003c/p>\n\u003cp>But when it comes to the situation with \u003ca href=\"https://www.npr.org/2024/02/20/1232527337/tv-critics-association-bachelor\">race on \u003cem>The Bachelor\u003c/em> franchise\u003c/a>, \u003cem>Cue The Sun!\u003c/em> is noticeably quiet. It acknowledges that creator Mike Fleiss stepped down after an internal investigation into allegations of racial discrimination led to a “racial reckoning.” And Nussbaum spoke to one of the two Black contestants from \u003cem>The Bachelor\u003c/em>‘s first season, LaNease Adams. Following her stint on\u003cem> The Bachelor,\u003c/em> Adams buckled under relentless public scrutiny and racist online attacks, with mental health concerns \u003ca href=\"https://www.womenshealthmag.com/life/a33075184/bachelor-alex-michel-lanease-adams-depression/\">eventually sending her to the hospital\u003c/a>. Still, she blames herself for being “naive about racism” and defends the show’s treatment and handling of race. Adams’ comments are fascinating, but not exactly illuminating.\u003c/p>\n\u003cp>[aside postid='arts_13959550']Nussbaum declines to explore the perspectives of Black critics and viewers. Given that \u003ca href=\"https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race\">\u003cem>The Bachelor’\u003c/em>s racial conflicts were legion\u003c/a>, and Black women are both a vibrant part of the audience and of the critical community, that seems an odd choice. In a complex chapter with plenty of controversy about gender, ethics, and exploitation, maybe there wasn’t room, but it still reads like something is missing.\u003c/p>\n\u003cp>Despite that blind spot, overall \u003cem>Cue the Sun!\u003c/em> is both entertaining and enlightening — full of eye-popping insight and rollicking prose. An enthusiast herself, Nussbaum makes even a reality-show-skeptic understand the appeal. She describes \u003cem>The Bachelor\u003c/em> as “a schmaltzy, sexist carnival that doubled, for viewers, as a swoony stunt, the Evel Knievel canyon leap of matrimony.”\u003c/p>\n\u003cp>And she writes just as vividly about how \u003cem>Queer Eye\u003c/em> led to the reinvention and precipitous rise of the Bravo network as executive Lauren Zalaznick “gentrified the sketchy neighborhood of reality programming, with all those basic bachelorettes and bug-eating contests,” transforming it into a “glimmering Tribeca of the mind.” There are dueling interpretations of how this new Bravo emerged from the invention of \u003cem>Queer Eye. \u003c/em>But the brilliance of the show, as Nussbaum smartly highlights, is that it was — in the words of \u003cem>Queer Eye \u003c/em>Director of Photography Michael Pearlman — “a pleasant change of pace: a reality show that was all about empowerment, rather than humiliation.”\u003c/p>\n\u003cp>Bravo’s successes might be the ultimate symbol of a sunnier story about the genre that upended television. But Nussbaum ends in a darker place, explaining how the genre remade American politics by reinventing Donald Trump on \u003cem>The Apprentice\u003c/em>. Love it or hate it, that titillating and consequential tale is the writer’s mic drop to a virtuoso performance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/bellcv\">@BellCV\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Pulitzer Prize-winning ‘New Yorker’ critic Emily Nussbaum's book is a near-definitive history of the genre.",
"status": "publish",
"parent": 0,
"modified": 1741715520,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1329
},
"headData": {
"title": "Book Review: ‘Cue the Sun!’ by Emily Nussbaum | KQED",
"description": "Pulitzer Prize-winning ‘New Yorker’ critic Emily Nussbaum's book is a near-definitive history of the genre.",
"ogTitle": "'Cue the Sun!' Is a Riveting History of Reality TV",
"ogDescription": "",
"ogImgId": "",
"twTitle": "'Cue the Sun!' Is a Riveting History of Reality TV",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Cue the Sun!’ by Emily Nussbaum %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Cue the Sun!' Is a Riveting History of Reality TV",
"datePublished": "2024-06-26T07:07:22-07:00",
"dateModified": "2025-03-11T10:52:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Carole V. Bell, NPR",
"nprStoryId": "nx-s1-5017620",
"nprHtmlLink": "https://www.npr.org/2024/06/25/nx-s1-5017620/book-review-cue-the-sun-emily-nussbaum",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-25T10:50:07.35-04:00",
"nprStoryDate": "2024-06-25T10:50:07.35-04:00",
"nprLastModifiedDate": "2024-06-25T10:50:07.35-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960317/cue-the-sun-by-emily-nussbaum-book-review-reality-tv",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960318\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg\" alt=\"A book cover showing a family gathered around a pool being filmed by TV cameras. \" width=\"810\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-768x1024.jpeg 768w\" sizes=\"auto, (max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulitzer Prize-winning \u003cem>New Yorker\u003c/em> critic Emily Nussbaum first conceived her sweeping chronicle of the rise of reality TV in 2003 — shortly after the debut of \u003cem>The Bachelor \u003c/em>and three years into \u003cem>Survivor\u003c/em>. But back then the reception from fellow writers was as icy as public attitudes towards the genre. “You better write that one fast,” she recalls a friend warning her. “Reality television was a fad … a bubble that would pop before I could get anything on the page.”\u003c/p>\n\u003cp>Twenty years later, Nussbaum’s \u003cem>Cue the Sun!: The Invention of Reality TV\u003c/em> is a near definitive history of the genre that forever changed American entertainment. The book’s 20-year journey to publication is a tiny mirror of its subject’s rise to the center of American culture. As Nussbaum shows, “Critics had written off reality programming as a fad back in the 1940s, when mouthy civilians first shook up the economics of radio; and in the 1970s, during the flareups over \u003cem>An American Family \u003c/em>and \u003cem>The Gong Show\u003c/em>; and then again in the 1990s, when Fox and MTV set out to disrupt the major networks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960267",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The dismissive pattern continued for decades — and critics were wrong every time. The much maligned reality genre has “always been a trap” for someone in Nussbaum’s profession — as a critic you would either “clutch your pearls,” failing to “see the fun in it” or succumb to the temptation to “treat reality too lightly.”\u003c/p>\n\u003cp>Across 14 chapters, Nussbaum successfully walks a tightrope. Avoiding censure and trivialization, her narrative keenly captures the reality genre “through the voices of the people who built it” — “step by step, experiment by experiment” in riveting, energetic detail. Determined to see it as the makers and audiences did, and to translate the genre’s diversity, appeal and significance to the page, Nussbaum conducted interviews with a staggering 300 people who worked in every conceivable capacity — from network executives to show creators to crafts people and cast members — on some of the most important reality shows.\u003c/p>\n\u003cp>From these interviews, Nussbaum fashions a compelling oral history, transforming the scattered highs, lows, and tipping points of a genre constantly in flux into a cohesive exploration of the invention, evolution and importance of the modern reality show.\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>As juicy and provocative as it is analytical, \u003cem>Cue the Sun!\u003c/em> exposes the seamy underbelly of reality TV where that’s needed but also corrects unduly negative, and unfounded, assumptions. For example, on the motivations of the people who become the casts of these shows, Nussbaum concludes: “For many people, doing this kind of television wasn’t a naïve misstep at all — it was a conscious choice to participate in an extreme sport, one whose risks they embraced.” This insight emerges as a common theme across most of these chapters in the voices of wildly diverse on-screen participants — across programs as disparate as the 1970s \u003cem>An American Family\u003c/em>, \u003cem>Who Wants to Marry a Multimillionaire\u003c/em>, and \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>While many critics have painted reality TV in broad strokes, Nussbaum captures fascinating complexity and nuance. Perhaps the most poignant chapter focuses on PBS’s pioneering precursor to modern reality programming. The tip of the spear in an emerging genre dubbed the “dirty documentary,” in a single season \u003cem>An American Family\u003c/em> exploded the traditional nuclear ideal through California’s prosperous Loud family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959693",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Putting a microscope to five teenage kids and two parents at odds, for seven months, the show delivered a microcosm of America’s rapid cultural shifts as the Louds navigated infidelity, a son’s sexuality, and divorce. While the filmmakers played it straight, according to Nussbaum, the Louds felt stung by the 24/7 cameras and scathing public reaction. It was a startling precursor of what was to come.\u003c/p>\n\u003cp>Decades later, with the possible exception of a \u003cem>Dating Game\u003c/em> contestant who turned out to be a serial killer, perhaps no episode is as jaw-dropping as the story of \u003cem>Survivor\u003c/em>. Nussbaum’s storytelling reaches the height of its powers in a blow by blow of \u003cem>Survivor\u003c/em> season one that will give you the creepy crawlies: fleas under the skin, snakes on the belly, parasites in the intestines. But it’s hard to figure what’s more treacherous, the wildlife or the humans committed to making compelling TV at any cost.\u003c/p>\n\u003cp>Despite the book’s strengths, at crucial times the accounts of insiders prove insufficient; context and a critical counterpoint are needed. But in its commitment to handing the mic to the makers, the book eschews outside perspectives. There are exceptions: With \u003cem>An American Family,\u003c/em> we gain insight into the challenge of being gay man on TV in the ’70s through snippets of contemporaneous media and viewer letters. The book also nods to criticism of \u003cem>Queer Eye for the Straight Guy \u003c/em>from the gay community.\u003c/p>\n\u003cp>But when it comes to the situation with \u003ca href=\"https://www.npr.org/2024/02/20/1232527337/tv-critics-association-bachelor\">race on \u003cem>The Bachelor\u003c/em> franchise\u003c/a>, \u003cem>Cue The Sun!\u003c/em> is noticeably quiet. It acknowledges that creator Mike Fleiss stepped down after an internal investigation into allegations of racial discrimination led to a “racial reckoning.” And Nussbaum spoke to one of the two Black contestants from \u003cem>The Bachelor\u003c/em>‘s first season, LaNease Adams. Following her stint on\u003cem> The Bachelor,\u003c/em> Adams buckled under relentless public scrutiny and racist online attacks, with mental health concerns \u003ca href=\"https://www.womenshealthmag.com/life/a33075184/bachelor-alex-michel-lanease-adams-depression/\">eventually sending her to the hospital\u003c/a>. Still, she blames herself for being “naive about racism” and defends the show’s treatment and handling of race. Adams’ comments are fascinating, but not exactly illuminating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959550",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Nussbaum declines to explore the perspectives of Black critics and viewers. Given that \u003ca href=\"https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race\">\u003cem>The Bachelor’\u003c/em>s racial conflicts were legion\u003c/a>, and Black women are both a vibrant part of the audience and of the critical community, that seems an odd choice. In a complex chapter with plenty of controversy about gender, ethics, and exploitation, maybe there wasn’t room, but it still reads like something is missing.\u003c/p>\n\u003cp>Despite that blind spot, overall \u003cem>Cue the Sun!\u003c/em> is both entertaining and enlightening — full of eye-popping insight and rollicking prose. An enthusiast herself, Nussbaum makes even a reality-show-skeptic understand the appeal. She describes \u003cem>The Bachelor\u003c/em> as “a schmaltzy, sexist carnival that doubled, for viewers, as a swoony stunt, the Evel Knievel canyon leap of matrimony.”\u003c/p>\n\u003cp>And she writes just as vividly about how \u003cem>Queer Eye\u003c/em> led to the reinvention and precipitous rise of the Bravo network as executive Lauren Zalaznick “gentrified the sketchy neighborhood of reality programming, with all those basic bachelorettes and bug-eating contests,” transforming it into a “glimmering Tribeca of the mind.” There are dueling interpretations of how this new Bravo emerged from the invention of \u003cem>Queer Eye. \u003c/em>But the brilliance of the show, as Nussbaum smartly highlights, is that it was — in the words of \u003cem>Queer Eye \u003c/em>Director of Photography Michael Pearlman — “a pleasant change of pace: a reality show that was all about empowerment, rather than humiliation.”\u003c/p>\n\u003cp>Bravo’s successes might be the ultimate symbol of a sunnier story about the genre that upended television. But Nussbaum ends in a darker place, explaining how the genre remade American politics by reinventing Donald Trump on \u003cem>The Apprentice\u003c/em>. Love it or hate it, that titillating and consequential tale is the writer’s mic drop to a virtuoso performance.\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 slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/bellcv\">@BellCV\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960317/cue-the-sun-by-emily-nussbaum-book-review-reality-tv",
"authors": [
"byline_arts_13960317"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_990"
],
"tags": [
"arts_22296",
"arts_21952",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13960320",
"label": "arts_140"
},
"arts_13960032": {
"type": "posts",
"id": "arts_13960032",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960032",
"score": null,
"sort": [
1718908040000
]
},
"guestAuthors": [],
"slug": "thelma-movie-review-june-squibb-delightful-revenge-comedy",
"title": "June Squibb Is Delightful as a Grandma on a Mission in ‘Thelma’",
"publishDate": 1718908040,
"format": "standard",
"headTitle": "June Squibb Is Delightful as a Grandma on a Mission in ‘Thelma’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>[aside postid='arts_13959577']Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>[aside postid='arts_13959801']Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Comedic banter, wonderful chemistry and a perfect leading lady make for an unexpectedly entertaining revenge-comedy.",
"status": "publish",
"parent": 0,
"modified": 1718905310,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 740
},
"headData": {
"title": "‘Thelma’ Review: June Squibb Delights in This Creative Comedy | KQED",
"description": "Comedic banter, wonderful chemistry and a perfect leading lady make for an unexpectedly entertaining revenge-comedy.",
"ogTitle": "June Squibb is Delightful as a Grandma on a Mission in ‘Thelma’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "June Squibb is Delightful as a Grandma on a Mission in ‘Thelma’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Thelma’ Review: June Squibb Delights in This Creative Comedy %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "June Squibb Is Delightful as a Grandma on a Mission in ‘Thelma’",
"datePublished": "2024-06-20T11:27:20-07:00",
"dateModified": "2024-06-20T10:41:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959801",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy",
"authors": [
"byline_arts_13960032"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13960037",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 648,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2976,
"relation": "eq"
},
"items": [
"arts_13961083",
"arts_13960850",
"arts_13960843",
"arts_13960700",
"arts_13960599",
"arts_13960473",
"arts_13960462",
"arts_13960383",
"arts_13960378",
"arts_13960332",
"arts_13960317",
"arts_13960032"
],
"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_13960700": {
"type": "terms",
"id": "source_arts_13960700",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"source_arts_13960473": {
"type": "terms",
"id": "source_arts_13960473",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"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_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_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_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_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_11718": {
"type": "terms",
"id": "arts_11718",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11718",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thriller",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thriller Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11730,
"slug": "thriller",
"isLoading": false,
"link": "/arts/tag/thriller"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_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_22111": {
"type": "terms",
"id": "arts_22111",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22111",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rodeo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rodeo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22123,
"slug": "rodeo",
"isLoading": false,
"link": "/arts/tag/rodeo"
},
"arts_5426": {
"type": "terms",
"id": "arts_5426",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5426",
"found": true
},
"relationships": {},
"name": "1960s",
"slug": "1960s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1960s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 5438,
"isLoading": false,
"link": "/arts/tag/1960s"
},
"arts_6228": {
"type": "terms",
"id": "arts_6228",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6228",
"found": true
},
"relationships": {},
"featImg": null,
"name": "nasa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "nasa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6240,
"slug": "nasa",
"isLoading": false,
"link": "/arts/tag/nasa"
},
"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_10772": {
"type": "terms",
"id": "arts_10772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10772",
"found": true
},
"relationships": {},
"name": "1950s",
"slug": "1950s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1950s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 10784,
"isLoading": false,
"link": "/arts/tag/1950s"
},
"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_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"arts_4459": {
"type": "terms",
"id": "arts_4459",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4459",
"found": true
},
"relationships": {},
"featImg": null,
"name": "activism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "activism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4471,
"slug": "activism",
"isLoading": false,
"link": "/arts/tag/activism"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_22151": {
"type": "terms",
"id": "arts_22151",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22151",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden state valkyries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden state valkyries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22163,
"slug": "golden-state-valkyries",
"isLoading": false,
"link": "/arts/tag/golden-state-valkyries"
},
"arts_5265": {
"type": "terms",
"id": "arts_5265",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5265",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social justice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5277,
"slug": "social-justice",
"isLoading": false,
"link": "/arts/tag/social-justice"
},
"arts_22199": {
"type": "terms",
"id": "arts_22199",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22199",
"found": true
},
"relationships": {},
"name": "wnba",
"slug": "wnba",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "wnba Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22211,
"isLoading": false,
"link": "/arts/tag/wnba"
},
"arts_10778": {
"type": "terms",
"id": "arts_10778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10778",
"found": true
},
"relationships": {},
"featImg": null,
"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": 10790,
"slug": "his-is-a-good-time-to-start-a-garden-heres-how",
"isLoading": false,
"link": "/arts/affiliate/his-is-a-good-time-to-start-a-garden-heres-how"
},
"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_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"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_13090": {
"type": "terms",
"id": "arts_13090",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13090",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New York City",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New York City Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13102,
"slug": "new-york-city",
"isLoading": false,
"link": "/arts/tag/new-york-city"
},
"arts_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_21952": {
"type": "terms",
"id": "arts_21952",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21952",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reality tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reality tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21964,
"slug": "reality-tv",
"isLoading": false,
"link": "/arts/tag/reality-tv"
},
"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"
}
},
"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
}
}
