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_13957805": {
"type": "attachments",
"id": "arts_13957805",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957805",
"found": true
},
"parent": 13957803,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-e1715717725473.png",
"width": 1920,
"height": 1197
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-2048x1277.png",
"width": 2048,
"mimeType": "image/png",
"height": 1277
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-1020x636.png",
"width": 1020,
"mimeType": "image/png",
"height": 636
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-1536x958.png",
"width": 1536,
"mimeType": "image/png",
"height": 958
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-1920x1197.png",
"width": 1920,
"mimeType": "image/png",
"height": 1197
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-800x499.png",
"width": 800,
"mimeType": "image/png",
"height": 499
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-1.14.15-PM-768x479.png",
"width": 768,
"mimeType": "image/png",
"height": 479
}
},
"publishDate": 1715717706,
"modified": 1715717867,
"caption": "Marisa Abela stars as Amy Winehouse in ‘Back to Black.’",
"description": null,
"title": "Marisa Abela stars as Amy Winehouse in ‘Back to Black.’",
"credit": "StudioCanal International",
"status": "inherit",
"altTag": "Side profile of a woman with stage lights on her face in a dark room.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957824": {
"type": "attachments",
"id": "arts_13957824",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957824",
"found": true
},
"parent": 13957814,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-160x92.png",
"width": 160,
"mimeType": "image/png",
"height": 92
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM.png",
"width": 1654,
"height": 950
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-1020x586.png",
"width": 1020,
"mimeType": "image/png",
"height": 586
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-1536x882.png",
"width": 1536,
"mimeType": "image/png",
"height": 882
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-800x459.png",
"width": 800,
"mimeType": "image/png",
"height": 459
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-14-at-2.25.00-PM-768x441.png",
"width": 768,
"mimeType": "image/png",
"height": 441
}
},
"publishDate": 1715721919,
"modified": 1715721966,
"caption": "‘My First Book’ by Honor Levy.",
"description": null,
"title": "‘My First Book’ by Honor Levy.",
"credit": "Penguin Press",
"status": "inherit",
"altTag": "A blue book cover with pixelated lettering like an old-fashioned computer.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957750": {
"type": "attachments",
"id": "arts_13957750",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957750",
"found": true
},
"parent": 13957749,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab.jpg",
"width": 1395,
"height": 1046
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-e45cffb103c05c1fbbcc3ef19a97e89a12b164ab-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1715641725,
"modified": 1715647882,
"caption": "‘When I first started being in Bikini Kill, I thought of myself as a feminist performance artist who was in a punk band,’ Kathleen Hanna says.",
"description": null,
"title": "‘When I first started being in Bikini Kill, I thought of myself as a feminist performance artist who was in a punk band,’ Kathleen Hanna says.",
"credit": "Rachel Bright/ Ecco",
"status": "inherit",
"altTag": "A smiling middle aged women stands with her hands on her hips in an oversized, structured top.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957734": {
"type": "attachments",
"id": "arts_13957734",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957734",
"found": true
},
"parent": 13957725,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.46.15-PM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.46.15-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.46.15-PM.png",
"width": 866,
"height": 572
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.46.15-PM-800x528.png",
"width": 800,
"mimeType": "image/png",
"height": 528
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.46.15-PM-768x507.png",
"width": 768,
"mimeType": "image/png",
"height": 507
}
},
"publishDate": 1715640439,
"modified": 1715640578,
"caption": "America Ferrera.",
"description": null,
"title": "America Ferrera.",
"credit": "Marleen Moise/ Getty Images",
"status": "inherit",
"altTag": "A Latina with short dark hair wearing a structured, sequined pink gown,",
"isLoading": false,
"fetchFailed": false
},
"arts_13957631": {
"type": "attachments",
"id": "arts_13957631",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957631",
"found": true
},
"parent": 13957624,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM.png",
"width": 1746,
"height": 1112
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-1020x650.png",
"width": 1020,
"mimeType": "image/png",
"height": 650
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-1536x978.png",
"width": 1536,
"mimeType": "image/png",
"height": 978
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-800x510.png",
"width": 800,
"mimeType": "image/png",
"height": 510
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-12.46.33-PM-768x489.png",
"width": 768,
"mimeType": "image/png",
"height": 489
}
},
"publishDate": 1715370461,
"modified": 1715370538,
"caption": "A happy little moment from ‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season.’",
"description": null,
"title": "A happy little moment from ‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season.’",
"credit": "Derek Sanford/ WDSC-TV via AP",
"status": "inherit",
"altTag": "A middle aged man wearing a plaid shirt stands next to a painting. He is holding an easel and a brush.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957542": {
"type": "attachments",
"id": "arts_13957542",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957542",
"found": true
},
"parent": 13957540,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-160x98.png",
"width": 160,
"mimeType": "image/png",
"height": 98
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM.png",
"width": 2062,
"height": 1258
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-2048x1249.png",
"width": 2048,
"mimeType": "image/png",
"height": 1249
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-1020x622.png",
"width": 1020,
"mimeType": "image/png",
"height": 622
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-1536x937.png",
"width": 1536,
"mimeType": "image/png",
"height": 937
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-1920x1171.png",
"width": 1920,
"mimeType": "image/png",
"height": 1171
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-800x488.png",
"width": 800,
"mimeType": "image/png",
"height": 488
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-10.54.44-AM-768x469.png",
"width": 768,
"mimeType": "image/png",
"height": 469
}
},
"publishDate": 1715277306,
"modified": 1715277409,
"caption": "A moment of unfiltered joy in ‘Gasoline Rainbow.’ ",
"description": null,
"title": "A moment of unfiltered joy in ‘Gasoline Rainbow.’",
"credit": "MUBI via AP",
"status": "inherit",
"altTag": "Two young women scream as they drive a car through the night.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957461": {
"type": "attachments",
"id": "arts_13957461",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957461",
"found": true
},
"parent": 13957460,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-scaled-e1715193853960.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/shardlakefirstlook_custom-9a551460cff25d92fe8409eccaa22fa615ab4e8d-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1715191431,
"modified": 1715193945,
"caption": "Arthur Hughes plays the title character in new, four-part Disney+/Hulu series, ‘Shardlake.’",
"description": null,
"title": "Arthur Hughes plays the title character in new, four-part Disney+/Hulu series, ‘Shardlake.’",
"credit": "Martin Mlaka/ Disney+",
"status": "inherit",
"altTag": "A concerned looking man on horseback.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957456": {
"type": "attachments",
"id": "arts_13957456",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957456",
"found": true
},
"parent": 13957455,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-160x105.png",
"width": 160,
"mimeType": "image/png",
"height": 105
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM.png",
"width": 1736,
"height": 1138
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-1020x669.png",
"width": 1020,
"mimeType": "image/png",
"height": 669
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-1536x1007.png",
"width": 1536,
"mimeType": "image/png",
"height": 1007
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-800x524.png",
"width": 800,
"mimeType": "image/png",
"height": 524
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-08-at-10.40.35-AM-768x503.png",
"width": 768,
"mimeType": "image/png",
"height": 503
}
},
"publishDate": 1715190111,
"modified": 1715190194,
"caption": "Soona (Lydia Peckham) and Noa (Owen Teague) in a scene from ‘Kingdom of the Planet of the Apes.’ ",
"description": null,
"title": "Soona (Lydia Peckham) and Noa (Owen Teague) in a scene from ‘Kingdom of the Planet of the Apes.’",
"credit": "20th Century Studios via AP",
"status": "inherit",
"altTag": "Two chimpanzees embrace, their foreheads resting on each other.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957371": {
"type": "attachments",
"id": "arts_13957371",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957371",
"found": true
},
"parent": 13957370,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-e1715106560365.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ap24114166775802-5564df6b9d837aeaea086ddd2cc5eb9c4c9ae192-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1715104707,
"modified": 1715106691,
"caption": "Katy Perry at an ‘American Idol’ event in April. She wasn't at the 2024 Met Gala, despite the fake photos of her circulating on social media.",
"description": null,
"title": "Katy Perry at an ‘American Idol’ event in April. She wasn't at the 2024 Met Gala, despite the fake photos of her circulating on social media.",
"credit": "Jordan Strauss/ Invision/ AP",
"status": "inherit",
"altTag": "A smiling, tan, white woman with long black hair is seen from the chest up, wearing a strapless evening dress.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957265": {
"type": "attachments",
"id": "arts_13957265",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957265",
"found": true
},
"parent": 13957264,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-scaled-e1715017046955.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/zgw-104-saxophone-house-exterior-ce33c342b683e533add920f8e623b07caba4319a-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1715015792,
"modified": 1715017116,
"caption": "The Golden Saxophone House, featured on HGTV's new series ‘Zillow Gone Wild’.",
"description": null,
"title": "The Golden Saxophone House, featured on HGTV's new series ‘Zillow Gone Wild’.",
"credit": "HGTV",
"status": "inherit",
"altTag": "A large white house with huge gold chimneys dominating the front.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957224": {
"type": "attachments",
"id": "arts_13957224",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957224",
"found": true
},
"parent": 13957223,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM-160x95.png",
"width": 160,
"mimeType": "image/png",
"height": 95
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM.png",
"width": 1292,
"height": 768
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM-1020x606.png",
"width": 1020,
"mimeType": "image/png",
"height": 606
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM-800x476.png",
"width": 800,
"mimeType": "image/png",
"height": 476
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.50.37-PM-768x457.png",
"width": 768,
"mimeType": "image/png",
"height": 457
}
},
"publishDate": 1714769460,
"modified": 1714769526,
"caption": "Ryo Nishikawa in a scene from ‘Evil Does Not Exist.’",
"description": null,
"title": "Ryo Nishikawa in a scene from ‘Evil Does Not Exist.’",
"credit": "Sideshow and Janus Films via AP",
"status": "inherit",
"altTag": "A young Japanese girl wearing winter clothes gazes up into a tree.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957218": {
"type": "attachments",
"id": "arts_13957218",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957218",
"found": true
},
"parent": 13957217,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-160x101.png",
"width": 160,
"mimeType": "image/png",
"height": 101
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM.png",
"width": 1834,
"height": 1154
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-1020x642.png",
"width": 1020,
"mimeType": "image/png",
"height": 642
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-1536x966.png",
"width": 1536,
"mimeType": "image/png",
"height": 966
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-800x503.png",
"width": 800,
"mimeType": "image/png",
"height": 503
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-03-at-1.10.17-PM-768x483.png",
"width": 768,
"mimeType": "image/png",
"height": 483
}
},
"publishDate": 1714767090,
"modified": 1714767152,
"caption": "Justice Smith and Brigette Lundy-Paine in ‘I Saw the TV Glow.’ ",
"description": null,
"title": "Justice Smith and Brigette Lundy-Paine in ‘I Saw the TV Glow.’",
"credit": "A24 via AP",
"status": "inherit",
"altTag": "A Black teenage boy and a white teenage girl sit on a couch with a glowing fish tank behind them.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13957814": {
"type": "authors",
"id": "byline_arts_13957814",
"meta": {
"override": true
},
"slug": "byline_arts_13957814",
"name": "Leland Cheuk, NPR",
"isLoading": false
},
"byline_arts_13957749": {
"type": "authors",
"id": "byline_arts_13957749",
"meta": {
"override": true
},
"slug": "byline_arts_13957749",
"name": "Ann Marie Baldonado, NPR",
"isLoading": false
},
"byline_arts_13957725": {
"type": "authors",
"id": "byline_arts_13957725",
"meta": {
"override": true
},
"slug": "byline_arts_13957725",
"name": "Susan Montoya Bryan, Associated Press",
"isLoading": false
},
"byline_arts_13957624": {
"type": "authors",
"id": "byline_arts_13957624",
"meta": {
"override": true
},
"slug": "byline_arts_13957624",
"name": "Alicia Rancilio, Associated Press",
"isLoading": false
},
"byline_arts_13957540": {
"type": "authors",
"id": "byline_arts_13957540",
"meta": {
"override": true
},
"slug": "byline_arts_13957540",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13957460": {
"type": "authors",
"id": "byline_arts_13957460",
"meta": {
"override": true
},
"slug": "byline_arts_13957460",
"name": "John Powers, NPR",
"isLoading": false
},
"byline_arts_13957455": {
"type": "authors",
"id": "byline_arts_13957455",
"meta": {
"override": true
},
"slug": "byline_arts_13957455",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13957370": {
"type": "authors",
"id": "byline_arts_13957370",
"meta": {
"override": true
},
"slug": "byline_arts_13957370",
"name": "Rachel Treisman, NPR",
"isLoading": false
},
"byline_arts_13957264": {
"type": "authors",
"id": "byline_arts_13957264",
"meta": {
"override": true
},
"slug": "byline_arts_13957264",
"name": "Chloe Veltman, NPR",
"isLoading": false
},
"byline_arts_13957223": {
"type": "authors",
"id": "byline_arts_13957223",
"meta": {
"override": true
},
"slug": "byline_arts_13957223",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13957217": {
"type": "authors",
"id": "byline_arts_13957217",
"meta": {
"override": true
},
"slug": "byline_arts_13957217",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"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": 59
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 59
}
},
{
"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_13957803": {
"type": "posts",
"id": "arts_13957803",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957803",
"score": null,
"sort": [
1715807350000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1715807350,
"format": "standard",
"title": "‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids",
"headTitle": "‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids | KQED",
"content": "\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>[aside postid='pop_17172']The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rYzIOBwyhIU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>[aside postid='pop_112753']Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 710,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1715818758,
"excerpt": "The new Amy Winehouse biopic ignores the singer's inner life, despite apparently using her diaries as source material.",
"headData": {
"twImgId": "",
"twTitle": "‘Back to Black’ Is a Thinly Drawn Picture of Amy Winehouse, Pulled From the Tabloids",
"socialTitle": "‘Back to Black’ Movie Review: Great Impersonations, Zero Depth %%page%% %%sep%% KQED",
"ogTitle": "‘Back to Black’ Is a Thinly Drawn Picture of Amy Winehouse, Pulled From the Tabloids",
"ogImgId": "",
"twDescription": "",
"description": "The new Amy Winehouse biopic ignores the singer's inner life, despite apparently using her diaries as source material.",
"title": "‘Back to Black’ Movie Review: Great Impersonations, Zero Depth | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Back to Black’ Presents a Thinly Drawn Amy Winehouse, Pulled From the Tabloids",
"datePublished": "2024-05-15T14:09:10-07:00",
"dateModified": "2024-05-15T17:19:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "amy-winehouse-movie-review-back-to-black-biopic-marisa-abela",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"nprStoryId": "kqed-13957803",
"path": "/arts/13957803/amy-winehouse-movie-review-back-to-black-biopic-marisa-abela",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_17172",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\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/rYzIOBwyhIU'\n title='//www.youtube.com/embed/rYzIOBwyhIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_112753",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957803/amy-winehouse-movie-review-back-to-black-biopic-marisa-abela",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_21839",
"arts_21748",
"arts_585"
],
"featImg": "arts_13957805",
"label": "arts_140"
},
"arts_13957814": {
"type": "posts",
"id": "arts_13957814",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957814",
"score": null,
"sort": [
1715722144000
]
},
"guestAuthors": [],
"slug": "what-are-the-kids-thinking-these-days-honor-levy-aims-to-tell-in-my-first-book",
"title": "What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’",
"publishDate": 1715722144,
"format": "aside",
"headTitle": "What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>[aside postid='arts_13957749']Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>[aside postid='arts_13957276']“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Social media discourse and inevitable backlash aside, the 26-year-old's first book is an amusing take on growing up Gen Z.",
"status": "publish",
"parent": 0,
"modified": 1726701527,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 967
},
"headData": {
"title": "‘My First Book’ Review: Honor Levy's Short Stories for Gen Z | KQED",
"description": "Social media discourse and inevitable backlash aside, the 26-year-old's first book is an amusing take on growing up Gen Z.",
"ogTitle": "What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘My First Book’ Review: Honor Levy's Short Stories for Gen Z %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’",
"datePublished": "2024-05-14T14:29:04-07:00",
"dateModified": "2024-09-18T16:18:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Leland Cheuk, NPR",
"nprStoryId": "1250912188",
"nprHtmlLink": "https://www.npr.org/2024/05/14/1250912188/honor-levy-my-first-book-short-stories-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-05-14T06:00:06-04:00",
"nprStoryDate": "2024-05-14T06:00:06-04:00",
"nprLastModifiedDate": "2024-05-14T06:00:06-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13957814/what-are-the-kids-thinking-these-days-honor-levy-aims-to-tell-in-my-first-book",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957749",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\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>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957276",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957814/what-are-the-kids-thinking-these-days-honor-levy-aims-to-tell-in-my-first-book",
"authors": [
"byline_arts_13957814"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_5221",
"arts_769",
"arts_22017",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13957824",
"label": "arts_140"
},
"arts_13957749": {
"type": "posts",
"id": "arts_13957749",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957749",
"score": null,
"sort": [
1715696165000
]
},
"guestAuthors": [],
"slug": "kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl",
"title": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public",
"publishDate": 1715696165,
"format": "standard",
"headTitle": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>[aside postid='pop_10272']And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>[aside postid='arts_13863821']We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Bikini Kill frontwoman pioneered riot grrrl in the ’90s. ‘I thought of myself as a feminist performance artist,’ Hanna says. ",
"status": "publish",
"parent": 0,
"modified": 1741715557,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1354
},
"headData": {
"title": "Kathleen Hanna Interview: Bikini Kill Frontwoman Talks ‘Rebel Girl’ | KQED",
"description": "The Bikini Kill frontwoman pioneered riot grrrl in the ’90s. ‘I thought of myself as a feminist performance artist,’ Hanna says. ",
"ogTitle": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public",
"twDescription": "",
"twImgId": "",
"socialTitle": "Kathleen Hanna Interview: Bikini Kill Frontwoman Talks ‘Rebel Girl’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public",
"datePublished": "2024-05-14T07:16:05-07:00",
"dateModified": "2025-03-11T10:52:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Ann Marie Baldonado, NPR",
"nprStoryId": "1250507900",
"nprHtmlLink": "https://www.npr.org/2024/05/13/1250507900/bikini-kill-kathleen-hanna-rebel-girl",
"nprRetrievedStory": "1",
"nprPubDate": "2024-05-13T13:12:07-04:00",
"nprStoryDate": "2024-05-13T13:12:07-04:00",
"nprLastModifiedDate": "2024-05-13T13:55:32-04:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240513_fa_6bf22e2c-cec8-4979-9a83-0df3d86f9249.mp3?d=2232&size=35718418&e=1250507900&t=progseg&seg=1&p=13",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240513_fa_6bf22e2c-cec8-4979-9a83-0df3d86f9249.mp3?d=2232&size=35718418&e=1250507900&t=progseg&seg=1&p=13",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_10272",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\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 her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13863821",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\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>Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl",
"authors": [
"byline_arts_13957749"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_75"
],
"tags": [
"arts_21719",
"arts_7264",
"arts_22296"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13957750",
"label": "arts_137"
},
"arts_13957725": {
"type": "posts",
"id": "arts_13957725",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957725",
"score": null,
"sort": [
1715641320000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1715641320,
"format": "standard",
"title": "America Ferrera to Star in New Movie About the Deadly Paradise Wildfire",
"headTitle": "America Ferrera to Star in New Movie About the Deadly Paradise Wildfire | KQED",
"content": "\u003cp>New Mexico is standing in for California in a new film as Jamie Lee Curtis’ production company and others tell the story of a bus driver and a school teacher who rescued students during the deadliest and most destructive wildfire in California’s history.\u003c/p>\n\u003cp>The 2018 blaze killed 85 people and nearly erased the community of Paradise in the Sierra Nevada foothills. Some residents have returned to help make something new, while others are still haunted by their memories.\u003c/p>\n\u003cp>Curtis was among those marking the five-year anniversary in November when she posted on social media about the people of Paradise having suffered an unimaginable inferno and talked about the bravery of residents and the heroes who suited up and responded.\u003c/p>\n\u003cp>[aside postid='arts_13957540']She said at the time she was proud to be producing a film based on the stories in Lizzie Johnson’s novel: \u003cem>Paradise: One Town’s Struggle to Survive an American Wildfire\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> was a project that started in 2022. Now, filming is underway in and around Santa Fe and Española and in Ruidoso, a mountainous area of southern New Mexico that also has seen its share of wildfires — including a deadly fire in 2022 that was sparked by a downed power line.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From California to New Mexico and other parts of the West, wildfires have become more volatile amid drier and hotter conditions that have been exacerbated by the effects of climate change. So far this year, more than 2,812 square miles (7,283 square kilometers) have burned — more than double the 10-year average, according to the National Interagency Fire Center.\u003c/p>\n\u003cfigure id=\"attachment_13957739\" class=\"wp-caption aligncenter\" style=\"max-width: 1586px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png\" alt=\"A blue house in a rural environments is surrounded by plumes of Grey and black smoke.\" width=\"1586\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1536x893.png 1536w\" sizes=\"(max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-caption-text\">Towering smoke plumes overshadowed Paradise as the Camp Fire raced through in 2018. More than 18,000 acres burned in a matter of hours. \u003ccite>(Josh Edelson/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film will star Matthew McConaughey and America Ferrera under the direction of Paul Greengrass. Emmy Award winner Brad Ingelsby, Greg Goodman and Jason Blum’s production company Blumhouse will join Curtis’ Comet Pictures in producing the film.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> will focus on bus driver Kevin McKay and teacher Mary Ludwig, who helped navigate a bus full of children through the deadly wildfire.\u003c/p>\n\u003cp>In an interview in 2018, Marc Kessler, a science teacher at a Paradise Unified School District middle school, told The Associated Press he arrived at work early that Thursday morning and saw smoke plumes that soon grew uncomfortably near.\u003c/p>\n\u003cp>[aside postid='news_11793155']Teachers, aides and bus drivers loaded more than 100 students into cars and school buses as the fast-moving wildfire approached, Kessler said. They drove hours through smoke and flames to safely reunite the children with their families.\u003c/p>\n\u003cp>In McKay’s case, he responded to an emergency call and picked up 22 students from Ponderosa Elementary School as the flames approached. Ludwig and fellow teacher Abbie Davis helped to comfort the children.\u003c/p>\n\u003cp>Curtis in a 2022 interview with Deadline said as a lifelong California resident, she watched with profound sadness as the ferocious fire consumed Paradise. She had said she wanted to be able to turn the stories in Johnson’s novel into a film that would explore the human elements, tragedies and bravery that stemmed from the wildfire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The production will employ 480 New Mexico crew members and 2,100 extras, according to the New Mexico Film Office.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 569,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1715642007,
"excerpt": "Jamie Lee Curtis’ production company will tell the story of a bus driver and a teacher who rescued students during the fire.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "America Ferrera Starring in New Movie About Paradise Wildfire %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Jamie Lee Curtis’ production company will tell the story of a bus driver and a teacher who rescued students during the fire.",
"title": "America Ferrera Starring in New Movie About Paradise Wildfire | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "America Ferrera to Star in New Movie About the Deadly Paradise Wildfire",
"datePublished": "2024-05-13T16:02:00-07:00",
"dateModified": "2024-05-13T16:13:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "paradise-wildfire-movie-america-ferrera-matthew-mcconaughey",
"status": "publish",
"templateType": "standard",
"nprByline": "Susan Montoya Bryan, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13957725",
"path": "/arts/13957725/paradise-wildfire-movie-america-ferrera-matthew-mcconaughey",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New Mexico is standing in for California in a new film as Jamie Lee Curtis’ production company and others tell the story of a bus driver and a school teacher who rescued students during the deadliest and most destructive wildfire in California’s history.\u003c/p>\n\u003cp>The 2018 blaze killed 85 people and nearly erased the community of Paradise in the Sierra Nevada foothills. Some residents have returned to help make something new, while others are still haunted by their memories.\u003c/p>\n\u003cp>Curtis was among those marking the five-year anniversary in November when she posted on social media about the people of Paradise having suffered an unimaginable inferno and talked about the bravery of residents and the heroes who suited up and responded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957540",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>She said at the time she was proud to be producing a film based on the stories in Lizzie Johnson’s novel: \u003cem>Paradise: One Town’s Struggle to Survive an American Wildfire\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> was a project that started in 2022. Now, filming is underway in and around Santa Fe and Española and in Ruidoso, a mountainous area of southern New Mexico that also has seen its share of wildfires — including a deadly fire in 2022 that was sparked by a downed power line.\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>From California to New Mexico and other parts of the West, wildfires have become more volatile amid drier and hotter conditions that have been exacerbated by the effects of climate change. So far this year, more than 2,812 square miles (7,283 square kilometers) have burned — more than double the 10-year average, according to the National Interagency Fire Center.\u003c/p>\n\u003cfigure id=\"attachment_13957739\" class=\"wp-caption aligncenter\" style=\"max-width: 1586px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png\" alt=\"A blue house in a rural environments is surrounded by plumes of Grey and black smoke.\" width=\"1586\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1536x893.png 1536w\" sizes=\"(max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-caption-text\">Towering smoke plumes overshadowed Paradise as the Camp Fire raced through in 2018. More than 18,000 acres burned in a matter of hours. \u003ccite>(Josh Edelson/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film will star Matthew McConaughey and America Ferrera under the direction of Paul Greengrass. Emmy Award winner Brad Ingelsby, Greg Goodman and Jason Blum’s production company Blumhouse will join Curtis’ Comet Pictures in producing the film.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> will focus on bus driver Kevin McKay and teacher Mary Ludwig, who helped navigate a bus full of children through the deadly wildfire.\u003c/p>\n\u003cp>In an interview in 2018, Marc Kessler, a science teacher at a Paradise Unified School District middle school, told The Associated Press he arrived at work early that Thursday morning and saw smoke plumes that soon grew uncomfortably near.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11793155",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Teachers, aides and bus drivers loaded more than 100 students into cars and school buses as the fast-moving wildfire approached, Kessler said. They drove hours through smoke and flames to safely reunite the children with their families.\u003c/p>\n\u003cp>In McKay’s case, he responded to an emergency call and picked up 22 students from Ponderosa Elementary School as the flames approached. Ludwig and fellow teacher Abbie Davis helped to comfort the children.\u003c/p>\n\u003cp>Curtis in a 2022 interview with Deadline said as a lifelong California resident, she watched with profound sadness as the ferocious fire consumed Paradise. She had said she wanted to be able to turn the stories in Johnson’s novel into a film that would explore the human elements, tragedies and bravery that stemmed from the wildfire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The production will employ 480 New Mexico crew members and 2,100 extras, according to the New Mexico Film Office.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957725/paradise-wildfire-movie-america-ferrera-matthew-mcconaughey",
"authors": [
"byline_arts_13957725"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_6064",
"arts_6024"
],
"featImg": "arts_13957734",
"label": "arts"
},
"arts_13957624": {
"type": "posts",
"id": "arts_13957624",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957624",
"score": null,
"sort": [
1715370666000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1715370666,
"format": "standard",
"title": "Bob Ross’ Legacy Lives on in New ‘The Joy of Painting’ Series",
"headTitle": "Bob Ross’ Legacy Lives on in New ‘The Joy of Painting’ Series | KQED",
"content": "\u003cp>A new generation can learn how to paint happy trees and to make happy accidents with a TV series teaching the Bob Ross-method of painting using some of the prolific artist’s work that have never been seen before.\u003c/p>\n\u003cp>Before Ross died in 1995 from cancer, he had completed seven paintings to use in season 32 of \u003cem>The Joy of Painting\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13902109']“He was so sick, but he was still working on his next series because he wanted to be able to keep going,” said Joan Kowalski, president of Bob Ross Inc. Her parents, Annette and Walt Kowalski, co-founded the company with Ross.\u003c/p>\n\u003cp>Those works were stored away for almost three decades. Certified Bob Ross instructor Nicholas Hankins has studied those seven paintings and paints them from scratch on camera in \u003cem>The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season\u003c/em>, which started airing this spring in some markets on American Public Television. \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">Some episodes are available on PBS’ website\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Aoxot0CxTYQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opportunity to “take these paintings and do what Bob ultimately wanted done with them, (to) have them out in the world making people happy is gratifying” said Hankins recently over Zoom. He teaches at the Bob Ross Art Workshop and Gallery about 15 miles from Daytona Beach, Florida, and oversees instructor certification. Hankins also uses six of his own paintings in this new \u003cem>Joy of Painting\u003c/em>, which was filmed and produced at WDSC-TV Daytona State College.\u003c/p>\n\u003cp>[aside postid='pop_34351']“I think that Bob would be incredibly proud of how we’re doing this,” said Kowalski. “There aren’t really many things that come our way where we have to wonder, what should we do? Bob was very specific in how he wanted this whole thing to go into the future.”\u003c/p>\n\u003cp>Hankins is a familiar face to Ross devotees. His own teaching videos posted to the Bob Ross YouTube channel drew upwards of 300,000 views before the idea of TV was ever mentioned.\u003c/p>\n\u003cp>Kowalski is fascinated by the online response to Hankin’s videos. “People notice that Nick is not at all trying to be Bob, and he’s delivering naturally as himself and yet there’s still that same sort of feeling you get watching Bob.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TY4b4JlbNis\u003c/p>\n\u003cp>A surge of interest in all things Bob Ross came out of the pandemic, when people were staying home and looking for ways to pass time. Now, with so many distractions, it can seem like there aren’t enough hours in a day to unwind and rest. If viewers don’t tune in for a painting lesson, Hankins hopes his 30-minute \u003cem>Joy of Painting\u003c/em> episodes helps people to relax in the same spirit as the originals.\u003c/p>\n\u003cp>[aside postid='arts_13867846']“I hope I can carry that part of the legacy on,” he said. “I want to genuinely create an environment where people are going to come in, take half an hour and just turn off the world. Right now is a time we need it.”\u003c/p>\n\u003cp>Kowalski says people used to sheepishly tell Ross “all the time” that they would fall asleep to his episodes, but he didn’t mind. “He said, ‘I love hearing that you’ve never watched a full episode of me.’”\u003c/p>\n\u003cp>If you want to paint along, Hankins said you need basic materials like oil colors, an easel, canvas, and brushes. “But if they’re just watching all they need is a tall glass of iced tea. ”That was Bob’s thing,” he said, “get some iced tea and kick back and watch.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season’ is airing now on American Public Television. Some episodes are available to \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">stream on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 674,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1715370666,
"excerpt": "Painter Nicholas Hankins is reviving seven Bob Ross paintings in a new series that honors the beloved TV artist.",
"headData": {
"twImgId": "",
"twTitle": "Bob Ross’ Legacy Lives on in New ‘The Joy of Painting’ Series",
"socialTitle": "Nicholas Hankins’ ‘Joy of Painting’ Honors Bob Ross Art %%page%% %%sep%% KQED",
"ogTitle": "Bob Ross’ Legacy Lives on in New ‘The Joy of Painting’ Series",
"ogImgId": "",
"twDescription": "",
"description": "Painter Nicholas Hankins is reviving seven Bob Ross paintings in a new series that honors the beloved TV artist.",
"title": "Nicholas Hankins’ ‘Joy of Painting’ Honors Bob Ross Art | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bob Ross’ Legacy Lives on in New ‘The Joy of Painting’ Series",
"datePublished": "2024-05-10T12:51:06-07:00",
"dateModified": "2024-05-10T12:51:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bob-ross-joy-of-painting-nicholas-hankins-new-series-pbs-streaming",
"status": "publish",
"templateType": "standard",
"nprByline": "Alicia Rancilio, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13957624",
"path": "/arts/13957624/bob-ross-joy-of-painting-nicholas-hankins-new-series-pbs-streaming",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new generation can learn how to paint happy trees and to make happy accidents with a TV series teaching the Bob Ross-method of painting using some of the prolific artist’s work that have never been seen before.\u003c/p>\n\u003cp>Before Ross died in 1995 from cancer, he had completed seven paintings to use in season 32 of \u003cem>The Joy of Painting\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902109",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“He was so sick, but he was still working on his next series because he wanted to be able to keep going,” said Joan Kowalski, president of Bob Ross Inc. Her parents, Annette and Walt Kowalski, co-founded the company with Ross.\u003c/p>\n\u003cp>Those works were stored away for almost three decades. Certified Bob Ross instructor Nicholas Hankins has studied those seven paintings and paints them from scratch on camera in \u003cem>The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season\u003c/em>, which started airing this spring in some markets on American Public Television. \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">Some episodes are available on PBS’ website\u003c/a>.\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/Aoxot0CxTYQ'\n title='//www.youtube.com/embed/Aoxot0CxTYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opportunity to “take these paintings and do what Bob ultimately wanted done with them, (to) have them out in the world making people happy is gratifying” said Hankins recently over Zoom. He teaches at the Bob Ross Art Workshop and Gallery about 15 miles from Daytona Beach, Florida, and oversees instructor certification. Hankins also uses six of his own paintings in this new \u003cem>Joy of Painting\u003c/em>, which was filmed and produced at WDSC-TV Daytona State College.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_34351",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I think that Bob would be incredibly proud of how we’re doing this,” said Kowalski. “There aren’t really many things that come our way where we have to wonder, what should we do? Bob was very specific in how he wanted this whole thing to go into the future.”\u003c/p>\n\u003cp>Hankins is a familiar face to Ross devotees. His own teaching videos posted to the Bob Ross YouTube channel drew upwards of 300,000 views before the idea of TV was ever mentioned.\u003c/p>\n\u003cp>Kowalski is fascinated by the online response to Hankin’s videos. “People notice that Nick is not at all trying to be Bob, and he’s delivering naturally as himself and yet there’s still that same sort of feeling you get watching Bob.”\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/TY4b4JlbNis'\n title='//www.youtube.com/embed/TY4b4JlbNis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A surge of interest in all things Bob Ross came out of the pandemic, when people were staying home and looking for ways to pass time. Now, with so many distractions, it can seem like there aren’t enough hours in a day to unwind and rest. If viewers don’t tune in for a painting lesson, Hankins hopes his 30-minute \u003cem>Joy of Painting\u003c/em> episodes helps people to relax in the same spirit as the originals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13867846",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I hope I can carry that part of the legacy on,” he said. “I want to genuinely create an environment where people are going to come in, take half an hour and just turn off the world. Right now is a time we need it.”\u003c/p>\n\u003cp>Kowalski says people used to sheepishly tell Ross “all the time” that they would fall asleep to his episodes, but he didn’t mind. “He said, ‘I love hearing that you’ve never watched a full episode of me.’”\u003c/p>\n\u003cp>If you want to paint along, Hankins said you need basic materials like oil colors, an easel, canvas, and brushes. “But if they’re just watching all they need is a tall glass of iced tea. ”That was Bob’s thing,” he said, “get some iced tea and kick back and watch.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season’ is airing now on American Public Television. Some episodes are available to \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">stream on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957624/bob-ross-joy-of-painting-nicholas-hankins-new-series-pbs-streaming",
"authors": [
"byline_arts_13957624"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_22145",
"arts_4565",
"arts_585"
],
"featImg": "arts_13957631",
"label": "arts_140"
},
"arts_13957540": {
"type": "posts",
"id": "arts_13957540",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957540",
"score": null,
"sort": [
1715277576000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1715277576,
"format": "standard",
"title": "‘Gasoline Rainbow’ Is a Radiant Teen Road Trip for Generation Z",
"headTitle": "‘Gasoline Rainbow’ Is a Radiant Teen Road Trip for Generation Z | KQED",
"content": "\u003cp>In sibling directors Bill and Turner Ross’ latest, \u003cem>Gasoline Rainbow\u003c/em>, five Oregon teens just out of high school make their meandering way some 500 miles to reach the coast for what’s been billed as the “End of the World” party.\u003c/p>\n\u003cp>[aside postid='arts_13957223']They are like countless young protagonists before them: on the road to find out. But while they share much of the same yearnings and anxieties of American road travelers from \u003cem>On the Road\u003c/em> to \u003cem>Easy Rider\u003c/em>, the circumstances of their particular coming of age are uniquely theirs — and what’s on the radio dial is, too. “Dude, I want to listen to some Shakira, bro,” one says from the backseat of their van.\u003c/p>\n\u003cp>This being the Ross brothers — the makers of the Texas-Mexico border portrait \u003cem>Western\u003c/em> and \u003cem>Bloody Nose, Empty Pockets\u003c/em>, in which they brought 22 people to a Las Vegas dive bar and asked them to act as though it was closing the next day — we are in a hybrid film world, part documentary, part fiction. Our characters — Micah, Nathaly, Nichole, Tony, Makai — are nonprofessional actors and their journey is a loosely constructed series of encounters that mostly unfold naturally.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1mJJfAobyd4\u003c/p>\n\u003cp>It’s a filmmaking approach that can, in its weaker moments, result in the worst of both worlds: the rambling narrative of documentary and the manufactured quality of fiction. But on the whole, the Ross brothers’ observational, immersive filmmaking gets close to something bracingly real.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the case of \u003cem>Gasoline Rainbow\u003c/em>, which opens in theaters Friday, much is expressed by the land the teens traverse. Whether by car or on foot, their travels take them under highway overpasses, through sprawling train yards and along long rows of wind turbines. Global warming is mentioned only once, but it hovers over their uncertain future. They make their way across baren, dry lands and industrial blight. The name of that party is no coincidence.\u003c/p>\n\u003cp>[aside postid='arts_13957217']Bleak as that may be, \u003cem>Gasoline Rainbow\u003c/em> — which would fit comfortably alongside films like Alma Har’el’s \u003cem>Bombay Beach\u003c/em> and Andrea Arnold’s \u003cem>American Honey\u003c/em> — is most concerned with the question of: So what now? For these young people, unsure of what to do with their lives, getting out on the road provides plenty of answers. The world they’ve been left by older generations may be damaged. “Do you know what the difference is between kids and adults?” one elder tells them. “Adults aren’t supervised.” But there is beauty to be found, like shimmering pools of gasoline, if you’re willing to hit the road and make some new friends.\u003c/p>\n\u003cp>The answer lies most in community — in daring to leave the house, meet strangers and find like-minded souls. Perhaps more than anything, the Ross brothers — with a keen eye for American eccentrics — are interested in gathering together all the most interesting people they can find. And the spirit of camaraderie that results warms just as much as the bonfires gathered round in \u003cem>Gasoline Rainbow\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gasoline Rainbow’ is released nationwide on May 10, 2024. It reaches the Bay Area on May 17, \u003ca href=\"https://roxie.com/film/gasoline-rainbow/\">screening at San Francisco’s Roxie Theater\u003c/a>. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 564,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1715277576,
"excerpt": "The new Ross brothers film stars nonprofessional actors on a loosely constructed journey full of eccentric characters.",
"headData": {
"twImgId": "",
"twTitle": "‘Gasoline Rainbow’ Is a Radiant Teen Road Trip for Generation Z",
"socialTitle": "‘Gasoline Rainbow’ Review: A Radiant Gen Z Road Trip Movie %%page%% %%sep%% KQED",
"ogTitle": "‘Gasoline Rainbow’ Is a Radiant Teen Road Trip for Generation Z",
"ogImgId": "",
"twDescription": "",
"description": "The new Ross brothers film stars nonprofessional actors on a loosely constructed journey full of eccentric characters.",
"title": "‘Gasoline Rainbow’ Review: A Radiant Gen Z Road Trip Movie | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Gasoline Rainbow’ Is a Radiant Teen Road Trip for Generation Z",
"datePublished": "2024-05-09T10:59:36-07:00",
"dateModified": "2024-05-09T10:59:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "gasoline-rainbow-review-gen-z-roadtrip-movie-ross-brothers",
"status": "publish",
"templateType": "standard",
"nprByline": "Jake Coyle, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13957540",
"path": "/arts/13957540/gasoline-rainbow-review-gen-z-roadtrip-movie-ross-brothers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In sibling directors Bill and Turner Ross’ latest, \u003cem>Gasoline Rainbow\u003c/em>, five Oregon teens just out of high school make their meandering way some 500 miles to reach the coast for what’s been billed as the “End of the World” party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957223",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>They are like countless young protagonists before them: on the road to find out. But while they share much of the same yearnings and anxieties of American road travelers from \u003cem>On the Road\u003c/em> to \u003cem>Easy Rider\u003c/em>, the circumstances of their particular coming of age are uniquely theirs — and what’s on the radio dial is, too. “Dude, I want to listen to some Shakira, bro,” one says from the backseat of their van.\u003c/p>\n\u003cp>This being the Ross brothers — the makers of the Texas-Mexico border portrait \u003cem>Western\u003c/em> and \u003cem>Bloody Nose, Empty Pockets\u003c/em>, in which they brought 22 people to a Las Vegas dive bar and asked them to act as though it was closing the next day — we are in a hybrid film world, part documentary, part fiction. Our characters — Micah, Nathaly, Nichole, Tony, Makai — are nonprofessional actors and their journey is a loosely constructed series of encounters that mostly unfold naturally.\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/1mJJfAobyd4'\n title='//www.youtube.com/embed/1mJJfAobyd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a filmmaking approach that can, in its weaker moments, result in the worst of both worlds: the rambling narrative of documentary and the manufactured quality of fiction. But on the whole, the Ross brothers’ observational, immersive filmmaking gets close to something bracingly real.\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 the case of \u003cem>Gasoline Rainbow\u003c/em>, which opens in theaters Friday, much is expressed by the land the teens traverse. Whether by car or on foot, their travels take them under highway overpasses, through sprawling train yards and along long rows of wind turbines. Global warming is mentioned only once, but it hovers over their uncertain future. They make their way across baren, dry lands and industrial blight. The name of that party is no coincidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957217",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Bleak as that may be, \u003cem>Gasoline Rainbow\u003c/em> — which would fit comfortably alongside films like Alma Har’el’s \u003cem>Bombay Beach\u003c/em> and Andrea Arnold’s \u003cem>American Honey\u003c/em> — is most concerned with the question of: So what now? For these young people, unsure of what to do with their lives, getting out on the road provides plenty of answers. The world they’ve been left by older generations may be damaged. “Do you know what the difference is between kids and adults?” one elder tells them. “Adults aren’t supervised.” But there is beauty to be found, like shimmering pools of gasoline, if you’re willing to hit the road and make some new friends.\u003c/p>\n\u003cp>The answer lies most in community — in daring to leave the house, meet strangers and find like-minded souls. Perhaps more than anything, the Ross brothers — with a keen eye for American eccentrics — are interested in gathering together all the most interesting people they can find. And the spirit of camaraderie that results warms just as much as the bonfires gathered round in \u003cem>Gasoline Rainbow\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gasoline Rainbow’ is released nationwide on May 10, 2024. It reaches the Bay Area on May 17, \u003ca href=\"https://roxie.com/film/gasoline-rainbow/\">screening at San Francisco’s Roxie Theater\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957540/gasoline-rainbow-review-gen-z-roadtrip-movie-ross-brothers",
"authors": [
"byline_arts_13957540"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_12735",
"arts_769",
"arts_585"
],
"featImg": "arts_13957542",
"label": "arts_140"
},
"arts_13957460": {
"type": "posts",
"id": "arts_13957460",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957460",
"score": null,
"sort": [
1715200055000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1715200055,
"format": "standard",
"title": "Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day",
"headTitle": "Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day | KQED",
"content": "\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>[aside postid='arts_13956737']Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bDGNwIM0r9g\u003c/p>\n\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>[aside postid='arts_13956944']The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 772,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1715196465,
"excerpt": "A barrister in Henry VIII's England finds himself investigating a murder in a monastery in this new new four-part series.",
"headData": {
"twImgId": "",
"twTitle": "Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day",
"socialTitle": "‘Shardlake’ Review: Disney+ Show Brings Tudor Intrigue to Today%%page%% %%sep%% KQED",
"ogTitle": "Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day",
"ogImgId": "",
"twDescription": "",
"description": "A barrister in Henry VIII's England finds himself investigating a murder in a monastery in this new new four-part series.",
"title": "‘Shardlake’ Review: Disney+ Show Brings Tudor Intrigue to Today | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day",
"datePublished": "2024-05-08T13:27:35-07:00",
"dateModified": "2024-05-08T12:27:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beautifully-acted-shardlake-brings-500-year-old-tudor-intrigue-into-the-present-day",
"status": "publish",
"templateType": "standard",
"nprStoryDate": "2024-05-08T11:01:27-04:00",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "2024-05-08T13:24:49-04:00",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/05/08/1248646691/shardlake-review-hulu-cj-sansom",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240508_fa_02.mp3?d=405&size=6486353&e=1248646691&t=progseg&seg=2&p=13",
"nprStoryId": "1248646691",
"nprByline": "John Powers, NPR",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "2024-05-08T11:01:27-04:00",
"path": "/arts/13957460/beautifully-acted-shardlake-brings-500-year-old-tudor-intrigue-into-the-present-day",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240508_fa_02.mp3?d=405&size=6486353&e=1248646691&t=progseg&seg=2&p=13",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956737",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\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/bDGNwIM0r9g'\n title='//www.youtube.com/embed/bDGNwIM0r9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956944",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957460/beautifully-acted-shardlake-brings-500-year-old-tudor-intrigue-into-the-present-day",
"authors": [
"byline_arts_13957460"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10157",
"arts_15812",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13957461",
"label": "arts_140"
},
"arts_13957455": {
"type": "posts",
"id": "arts_13957455",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957455",
"score": null,
"sort": [
1715190500000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1715190500,
"format": "standard",
"title": "‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind",
"headTitle": "‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind | KQED",
"content": "\u003cp>Fans of the \u003cem>Planet of the Apes\u003c/em> franchise may still be mourning the 2017 death of Caesar, the first smart chimp and the charismatic ape leader. Not to worry: He haunts the next episode, the thrilling, visually stunning \u003cem>Kingdom of the Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>We actually start with Caesar’s funeral, his body decorated with flowers and then set alight like a Viking, before fast-forwarding “many generations later.” All apes talk now and most humans don’t, reduced to caveman loin cloths and running wide-eyed and scared, evolution in reverse.\u003c/p>\n\u003cp>[aside postid='arts_13957078']Our new hero is the young ape Noa (Owen Teague ) who is like all young adult chimps — seeking his father’s approval (even chimp dads just don’t understand) and testing his bravery. He is part of a clan that raises pet eagles, smokes fish and lives peacefully.\u003c/p>\n\u003cp>That all changes when his village is attacked not by humans but by fellow apes — masked soldiers from a nasty kingdom led by the crown-wearing Proximus Caesar (Kevin Durand, playing it to the hilt). He has taken Caesar’s name but twisted his words to become a tyrannical strongman — sorry, strongape.\u003c/p>\n\u003cp>Unlike the last movie which dealt with man’s inhumanity to animals — concentration camps included — ape-on-ape violence is in the cards for this one, including capturing an entire clan as prisoners. Proximus Caesar’s goons use makeshift cattle prods on fellow apes and force them to work while declaring “For Caesar!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kdr5oedn7q8\u003c/p>\n\u003cp>Screenwriter Josh Friedman has cleverly created a movie that examines how ancient stories can be hijacked and manipulated, like how Caesar’s non-violent message gets twisted by bad actors. There’s also a lot of \u003cem>Avatar\u003c/em> primitive naivete, and that makes sense since the reboot was shaped by several of that blue alien movie’s makers.\u003c/p>\n\u003cp>The movie poses some uncomfortable questions about collaborationists. William H. Macy plays a human who has become a sort of teacher-prisoner to Proximus Caesar — reading Kurt Vonnegut to him — and won’t fight back. “It is already their world,” he rationalizes.\u003c/p>\n\u003cp>Along for the heroic ride is a human young woman (Freya Allan, a budding star) who is hiding an agenda but offers Noa help along the way. Peter Macon plays a kindly, book-loving orangutan who adds a jolt of gleeful electricity to the movie and is missed when he goes.\u003c/p>\n\u003cp>[aside postid='arts_13956892']The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.\u003c/p>\n\u003cp>Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids’ books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.\u003c/p>\n\u003cp>The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? \u003cem>Kingdom of the Planet of the Apes\u003c/em> doesn’t answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kingdom of the Planet of the Apes’ is released nationwide on May 10, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 680,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1715190500,
"excerpt": "A time jump, a new enemy and jaw-dropping effects breathe vibrancy into the ‘Apes’ franchise.",
"headData": {
"twImgId": "",
"twTitle": "‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind",
"socialTitle": "‘Kingdom of the Planet of the Apes’ Review: New Worlds Collide %%page%% %%sep%% KQED",
"ogTitle": "‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind",
"ogImgId": "",
"twDescription": "",
"description": "A time jump, a new enemy and jaw-dropping effects breathe vibrancy into the ‘Apes’ franchise.",
"title": "‘Kingdom of the Planet of the Apes’ Review: New Worlds Collide | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind",
"datePublished": "2024-05-08T10:48:20-07:00",
"dateModified": "2024-05-08T10:48:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kingdom-of-the-planet-of-the-apes-finds-a-new-hero-and-will-blow-your-mind",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13957455",
"path": "/arts/13957455/kingdom-of-the-planet-of-the-apes-finds-a-new-hero-and-will-blow-your-mind",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the \u003cem>Planet of the Apes\u003c/em> franchise may still be mourning the 2017 death of Caesar, the first smart chimp and the charismatic ape leader. Not to worry: He haunts the next episode, the thrilling, visually stunning \u003cem>Kingdom of the Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>We actually start with Caesar’s funeral, his body decorated with flowers and then set alight like a Viking, before fast-forwarding “many generations later.” All apes talk now and most humans don’t, reduced to caveman loin cloths and running wide-eyed and scared, evolution in reverse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957078",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Our new hero is the young ape Noa (Owen Teague ) who is like all young adult chimps — seeking his father’s approval (even chimp dads just don’t understand) and testing his bravery. He is part of a clan that raises pet eagles, smokes fish and lives peacefully.\u003c/p>\n\u003cp>That all changes when his village is attacked not by humans but by fellow apes — masked soldiers from a nasty kingdom led by the crown-wearing Proximus Caesar (Kevin Durand, playing it to the hilt). He has taken Caesar’s name but twisted his words to become a tyrannical strongman — sorry, strongape.\u003c/p>\n\u003cp>Unlike the last movie which dealt with man’s inhumanity to animals — concentration camps included — ape-on-ape violence is in the cards for this one, including capturing an entire clan as prisoners. Proximus Caesar’s goons use makeshift cattle prods on fellow apes and force them to work while declaring “For Caesar!”\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/Kdr5oedn7q8'\n title='//www.youtube.com/embed/Kdr5oedn7q8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Screenwriter Josh Friedman has cleverly created a movie that examines how ancient stories can be hijacked and manipulated, like how Caesar’s non-violent message gets twisted by bad actors. There’s also a lot of \u003cem>Avatar\u003c/em> primitive naivete, and that makes sense since the reboot was shaped by several of that blue alien movie’s makers.\u003c/p>\n\u003cp>The movie poses some uncomfortable questions about collaborationists. William H. Macy plays a human who has become a sort of teacher-prisoner to Proximus Caesar — reading Kurt Vonnegut to him — and won’t fight back. “It is already their world,” he rationalizes.\u003c/p>\n\u003cp>Along for the heroic ride is a human young woman (Freya Allan, a budding star) who is hiding an agenda but offers Noa help along the way. Peter Macon plays a kindly, book-loving orangutan who adds a jolt of gleeful electricity to the movie and is missed when he goes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956892",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.\u003c/p>\n\u003cp>Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids’ books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.\u003c/p>\n\u003cp>The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? \u003cem>Kingdom of the Planet of the Apes\u003c/em> doesn’t answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kingdom of the Planet of the Apes’ is released nationwide on May 10, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957455/kingdom-of-the-planet-of-the-apes-finds-a-new-hero-and-will-blow-your-mind",
"authors": [
"byline_arts_13957455"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_15246",
"arts_769",
"arts_585"
],
"featImg": "arts_13957456",
"label": "arts_140"
},
"arts_13957370": {
"type": "posts",
"id": "arts_13957370",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957370",
"score": null,
"sort": [
1715107270000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1715107270,
"format": "standard",
"title": "Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?",
"headTitle": "Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for? | KQED",
"content": "\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\n\u003cp>https://twitter.com/jxries/status/1787603212075233371\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\n\u003cp>https://twitter.com/wanthatoo/status/1787604418956754956\u003c/p>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>[aside postid='arts_13957112']“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tereluprados/status/1787618574564999346\u003c/p>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/he_so_candid/status/1787608442116472883\u003c/p>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>[aside postid='arts_13952796']Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>[aside postid='arts_13932477']But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1093,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 31
},
"modified": 1715107270,
"excerpt": "Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.",
"headData": {
"twImgId": "",
"twTitle": "Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?",
"socialTitle": "How to Spot Fake Images of Real Celebrities, Concocted By AI %%page%% %%sep%% KQED",
"ogTitle": "Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?",
"ogImgId": "",
"twDescription": "",
"description": "Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.",
"title": "How to Spot Fake Images of Real Celebrities, Concocted By AI | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?",
"datePublished": "2024-05-07T11:41:10-07:00",
"dateModified": "2024-05-07T11:41:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "katy-perry-met-gala-2024-ai-photo-viral-fake-fashion",
"status": "publish",
"templateType": "standard",
"nprStoryDate": "2024-05-07T10:33:30-04:00",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "2024-05-07T11:59:56-04:00",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/05/07/1249570785/katy-perry-met-gala-deepfake",
"nprStoryId": "1249570785",
"nprByline": "Rachel Treisman, NPR",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "2024-05-07T10:33:30-04:00",
"path": "/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1787603212075233371"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1787604418956754956"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957112",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1787618574564999346"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1787608442116472883"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952796",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13932477",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\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>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion",
"authors": [
"byline_arts_13957370"
],
"categories": [
"arts_1",
"arts_76",
"arts_69",
"arts_75"
],
"tags": [
"arts_22039",
"arts_11323",
"arts_22131",
"arts_1935"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13957371",
"label": "arts_137"
},
"arts_13957264": {
"type": "posts",
"id": "arts_13957264",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957264",
"score": null,
"sort": [
1715017516000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1715017516,
"format": "standard",
"title": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV",
"headTitle": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV | KQED",
"content": "\u003cp>The real estate social media space is packed with influencers focusing on specific niches like \u003ca href=\"https://www.instagram.com/luxurymansions__/?hl=en\">luxury mansions\u003c/a>, \u003ca href=\"https://www.instagram.com/midcenturyhome/?hl=en\">mid-century moderns\u003c/a> or \u003ca href=\"https://www.instagram.com/cheapoldhouses/?hl=en\">inexpensive yet promising fixer-uppers\u003c/a>.\u003c/p>\n\u003cp>Within this crowded universe\u003cem>, \u003c/em>\u003ca href=\"https://www.instagram.com/zillowgonewild/?hl=en\">\u003cem>Zillow Gone Wild\u003c/em>\u003c/a> is a place to go if you’re in the market for, say, a home in Kansas City, Mo., shaped \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7246469852041399594\">like a UFO\u003c/a>; a \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\">striking, angular residence\u003c/a> in Kalamazoo, Mich., designed in the late 1940s by Frank Lloyd Wright; or a recently built \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7158117998404832555\">cruise ship\u003c/a> with close to 3,000 bedrooms. (Yes, there is an \u003ca href=\"https://www.zillow.com/house/royal-caribbean/\">actual Zillow listing\u003c/a> for this property.)\u003c/p>\n\u003cp>“Waking up to an ocean view in the actual ocean is the new best way to wake up,” says Samir Mezrahi, \u003cem>Zillow Gone Wild\u003c/em>‘s creator, in his deadpan TikTok commentary on this particularly mind-boggling property listing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\" data-video-id=\"7348164791539846446\">\n\u003csection>\u003ca title=\"@zillowgonewild\" href=\"https://www.tiktok.com/@zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">@zillowgonewild\u003c/a> Frank Lloyd Wright house for sale in Kalamazoo, MI for under $1 million!! \u003ca title=\"franklloydwright\" href=\"https://www.tiktok.com/tag/franklloydwright?refer=embed\" target=\"_blank\" rel=\"noopener\">#franklloydwright\u003c/a> \u003ca title=\"zillowgonewild\" href=\"https://www.tiktok.com/tag/zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">#zillowgonewild\u003c/a> \u003ca title=\"realestate\" href=\"https://www.tiktok.com/tag/realestate?refer=embed\" target=\"_blank\" rel=\"noopener\">#realestate\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"♬ Epic Music(863502) - Draganov89\" href=\"https://www.tiktok.com/music/Epic-Music-863502-6873501791145691137?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Epic Music(863502) – Draganov89\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Mezrahi’s prominent account, which has several million followers across platforms, has now been spun off into an equally wild reality \u003ca href=\"https://www.hgtv.com/shows/zillow-gone-wild\">TV show\u003c/a>. The nine-episode series premiered on HGTV Friday, and is out now on Max.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As on social media, the \u003cem>Zillow Gone Wild\u003c/em> TV show is aimed at a general audience and focuses on homes that defy everyday expectations in some way — whether visible from the outside in the architecture, or hidden inside as part of the home decor.\u003c/p>\n\u003cp>[aside postid='arts_13956737']“It has to be something we’ve pretty much never seen before,” says Mezrahi, a former social media director at \u003cem>Buzzfeed\u003c/em>, in an interview with NPR.\u003c/p>\n\u003ch3>Setting a “wild” tone\u003c/h3>\n\u003cp>The first segment of the first episode sets the tone: Homeowner Andrew Flair shows off the converted U.S. military missile launch facility in York, Neb. The unusual property has very thick steel doors and no windows.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qQ6fx2LIbc\u003c/p>\n\u003cp>“It’s all underground, covered in concrete, and if, for some reason, a bomb goes off, you’ll be safe,” Flair says on the show.\u003c/p>\n\u003cp>And in episode three, homeowner Kitty Reign tours viewers around the \u003cem>Pirates of the Caribbean\u003c/em>-themed residence in Las Vegas she’s selling. This swashbuckler’s paradise comes with a decorative wooden helm (“Everybody plays with it!”) and a tavern (“Kind of our own little secret pirate nightclub!”)\u003c/p>\n\u003cp>Hosted by comedian Jack McBrayer, who played Kenneth in \u003cem>30 Rock\u003c/em>, the show features 24 homes from around the country either up for sale or recently sold. But only one of them will be crowned the country’s “wildest” at the end of the series, as assessed by HGTV executives. Viewers who correctly guess the winning home can enter a pool for the chance to win $25,000.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/103_zillow-gone-wild_ships-ahoy_interior_custom-f5c7b8593923a6ac670b75e13ac958fe69d06cc5.jpg?s=1200&c=75&f=jpeg\" alt=\"Two women in short dresses stand in the middle of a room that looks like a pirate-themed bar. They are talking to a white man, wearing basic t-shirt and blue jeans.\" width=\"1200\" height=\"848\">\u003cfigcaption class=\"wp-caption-text\">Kitty Reign and her wife, Jennifer, show host Jack McBrayer around their ‘Pirates of the Caribbean’-themed house, as seen on HGTV’s new series ‘Zillow Gone Wild.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The judging criteria include creativity, commitment to a concept or theme and a quality McBrayer describes as “wackadoo.”\u003c/p>\n\u003cp>“That special thing that sets this property apart,” says McBrayer on the show. “We reward impracticality.”\u003c/p>\n\u003ch3>The growth of an American pastime\u003c/h3>\n\u003cp>Ogling real estate listings on social media has become an enormously popular American pastime in recent years. \u003cem>Saturday Night Live\u003c/em> even did \u003ca href=\"https://www.youtube.com/watch?v=yEfsaXDX0UQ\">a skit\u003c/a> about the trend in 2021. (“The pleasure you once got from sex now comes from looking at other people’s houses.”)\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=yEfsaXDX0UQ&t=20s\u003c/p>\n\u003cp>Mezrahi, who’s based in New York, says he has long made a hobby of idly browsing Zillow. He started \u003cem>Zillow Gone Wild\u003c/em> as a side project in the fall of 2020, knowing it would probably catch on. Mezrahi initially launched it only on Instagram, but soon expanded his offering to Facebook, Twitter, TikTok and a newsletter.\u003c/p>\n\u003cp>[aside postid='arts_13952549']“It was, like, prime pandemic. Everyone’s working from home. Companies are saying you can live wherever you want,” Mezrahi says. “So people are moving, thinking about moving, or browsing Zillow just as a bored-on-your-phone thing. So I kind of felt like there was an audience of people out there that are also doing this.”\u003c/p>\n\u003cp>The rise of TV and online channels devoted to home buying and home improvement, together with the increasingly elaborate social media presence of individual real estate brokers promoting their listings, have further fed the trend.\u003c/p>\n\u003cp>“This is a time when a lot of people are thinking about where and how we want to live,” says Zillow’s home trends expert, Amanda Pendleton, in an interview with NPR. “And these social media accounts captured our imagination and redefined what a home can be.”\u003c/p>\n\u003ch3>“Wild” listings can be challenging for real estate brokers\u003c/h3>\n\u003cp>That “imagination capturing” quality is what makes \u003cem>Zillow Gone Wild\u003c/em> so compelling on TikTok and TV.\u003c/p>\n\u003cp>But when it comes to actually selling a property, eccentric architecture and festive home decor aren’t necessarily virtues.\u003c/p>\n\u003cp>“As a real estate broker, you kind of get nervous about that, because the resale value is not the greatest when you’re making it your own,” says San Francisco Bay Area-based realtor Ria Cotton in an interview with NPR. “It may not be liked by other people.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/jack-mcbrayer_zillow-gone-wild-39a4782504c66c17d993e2558052aad0bc9c8149.jpg?s=1200&c=75&f=jpeg\" alt=\"A white man smiling broadly stands on a spiral staircase with gold accents.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Host Jack McBrayer taking in the sights of the ‘Golden Saxophone House.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>While having a marketable property is preferable, Cotton admits the popularity of social media accounts like \u003cem>Zillow Gone Wild\u003c/em> shows there’s a growing appetite among homebuyers and potential homebuyers for the “wackadoo.”\u003c/p>\n\u003cp>“I think more and more people are kind of bored of the cookie-cutter way of doing things,” Cotton says.\u003c/p>\n\u003cp>Case in point: An unusual music-themed home in Berkeley, Calif., that Cotton recently brokered, featured in \u003cem>Zillow Gone Wild.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13952420']The facade of the “Saxophone House” is dominated by two massive, gold saxophone-shaped columns. On the TV show, new homeowner Adanté Pointer proudly shows off the gold treble clef ornaments on the balcony railings indoors.\u003c/p>\n\u003cp>“The gold accents really make it stand out,” Pointer says appreciatively.\u003c/p>\n\u003cp>The smooth jazz vibes and bling of the Saxophone House might not be for everyone. But Pointer says it’s perfect for him.\u003c/p>\n\u003cp>“I am an attorney, and oftentimes, people come to me to make a statement on their behalf,” he says on the show. “And when you look at the outside of this home, it’s definitely a statement piece.”\u003c/p>\n\u003cp>In an interview with NPR, TV show host McBrayer says if visiting all of the homes featured in the \u003cem>Zillow Gone Wild \u003c/em>TV series taught him anything, it’s that even the wildest of homes won’t sit empty forever.\u003c/p>\n\u003cp>“For every house out there that is just head-to-toe rainbow-colored, there is going to be a buyer. For every home that is attached to the underside of a bridge, there’s going to be a buyer,” McBrayer says. “There’s a lid for every pot.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Zillow Gone Wild’ premiered on HGTV on May 3 at 7:30 p.m.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1261,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1715018138,
"excerpt": "‘Zillow Gone Wild’ started as an Instagram account devoted to eccentric property listings. Now it's hosted by Jack McBrayer.",
"headData": {
"twImgId": "",
"twTitle": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV",
"socialTitle": "‘Zillow Gone Wild’ Review: Jack McBrayer Tours Weird Homes %%page%% %%sep%% KQED",
"ogTitle": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV",
"ogImgId": "",
"twDescription": "",
"description": "‘Zillow Gone Wild’ started as an Instagram account devoted to eccentric property listings. Now it's hosted by Jack McBrayer.",
"title": "‘Zillow Gone Wild’ Review: Jack McBrayer Tours Weird Homes | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV",
"datePublished": "2024-05-06T10:45:16-07:00",
"dateModified": "2024-05-06T10:55:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "zillow-gone-wild-hgtv-review-jack-mcbrayer-fun-home-listings",
"status": "publish",
"templateType": "standard",
"nprStoryDate": "2024-05-04T12:00:40-04:00",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "2024-05-05T18:14:55-04:00",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/05/04/1248711088/zillow-gone-wild-tv-series-hgtv-max-instagram",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/05/20240505_atc_zillow_gone_wild_brings_wacky_real_estate_listings_to_hgtv.mp3?d=221&size=3552280&e=1248711088&t=progseg&seg=5&p=2",
"nprStoryId": "1248711088",
"nprByline": "Chloe Veltman, NPR",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "2024-05-04T12:00:40-04:00",
"path": "/arts/13957264/zillow-gone-wild-hgtv-review-jack-mcbrayer-fun-home-listings",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/05/20240505_atc_zillow_gone_wild_brings_wacky_real_estate_listings_to_hgtv.mp3?d=221&size=3552280&e=1248711088&t=progseg&seg=5&p=2",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The real estate social media space is packed with influencers focusing on specific niches like \u003ca href=\"https://www.instagram.com/luxurymansions__/?hl=en\">luxury mansions\u003c/a>, \u003ca href=\"https://www.instagram.com/midcenturyhome/?hl=en\">mid-century moderns\u003c/a> or \u003ca href=\"https://www.instagram.com/cheapoldhouses/?hl=en\">inexpensive yet promising fixer-uppers\u003c/a>.\u003c/p>\n\u003cp>Within this crowded universe\u003cem>, \u003c/em>\u003ca href=\"https://www.instagram.com/zillowgonewild/?hl=en\">\u003cem>Zillow Gone Wild\u003c/em>\u003c/a> is a place to go if you’re in the market for, say, a home in Kansas City, Mo., shaped \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7246469852041399594\">like a UFO\u003c/a>; a \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\">striking, angular residence\u003c/a> in Kalamazoo, Mich., designed in the late 1940s by Frank Lloyd Wright; or a recently built \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7158117998404832555\">cruise ship\u003c/a> with close to 3,000 bedrooms. (Yes, there is an \u003ca href=\"https://www.zillow.com/house/royal-caribbean/\">actual Zillow listing\u003c/a> for this property.)\u003c/p>\n\u003cp>“Waking up to an ocean view in the actual ocean is the new best way to wake up,” says Samir Mezrahi, \u003cem>Zillow Gone Wild\u003c/em>‘s creator, in his deadpan TikTok commentary on this particularly mind-boggling property listing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\" data-video-id=\"7348164791539846446\">\n\u003csection>\u003ca title=\"@zillowgonewild\" href=\"https://www.tiktok.com/@zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">@zillowgonewild\u003c/a> Frank Lloyd Wright house for sale in Kalamazoo, MI for under $1 million!! \u003ca title=\"franklloydwright\" href=\"https://www.tiktok.com/tag/franklloydwright?refer=embed\" target=\"_blank\" rel=\"noopener\">#franklloydwright\u003c/a> \u003ca title=\"zillowgonewild\" href=\"https://www.tiktok.com/tag/zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">#zillowgonewild\u003c/a> \u003ca title=\"realestate\" href=\"https://www.tiktok.com/tag/realestate?refer=embed\" target=\"_blank\" rel=\"noopener\">#realestate\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"♬ Epic Music(863502) - Draganov89\" href=\"https://www.tiktok.com/music/Epic-Music-863502-6873501791145691137?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Epic Music(863502) – Draganov89\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "tiktok",
"attributes": {
"named": {
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mezrahi’s prominent account, which has several million followers across platforms, has now been spun off into an equally wild reality \u003ca href=\"https://www.hgtv.com/shows/zillow-gone-wild\">TV show\u003c/a>. The nine-episode series premiered on HGTV Friday, and is out now on Max.\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 on social media, the \u003cem>Zillow Gone Wild\u003c/em> TV show is aimed at a general audience and focuses on homes that defy everyday expectations in some way — whether visible from the outside in the architecture, or hidden inside as part of the home decor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956737",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It has to be something we’ve pretty much never seen before,” says Mezrahi, a former social media director at \u003cem>Buzzfeed\u003c/em>, in an interview with NPR.\u003c/p>\n\u003ch3>Setting a “wild” tone\u003c/h3>\n\u003cp>The first segment of the first episode sets the tone: Homeowner Andrew Flair shows off the converted U.S. military missile launch facility in York, Neb. The unusual property has very thick steel doors and no windows.\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/8qQ6fx2LIbc'\n title='//www.youtube.com/embed/8qQ6fx2LIbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s all underground, covered in concrete, and if, for some reason, a bomb goes off, you’ll be safe,” Flair says on the show.\u003c/p>\n\u003cp>And in episode three, homeowner Kitty Reign tours viewers around the \u003cem>Pirates of the Caribbean\u003c/em>-themed residence in Las Vegas she’s selling. This swashbuckler’s paradise comes with a decorative wooden helm (“Everybody plays with it!”) and a tavern (“Kind of our own little secret pirate nightclub!”)\u003c/p>\n\u003cp>Hosted by comedian Jack McBrayer, who played Kenneth in \u003cem>30 Rock\u003c/em>, the show features 24 homes from around the country either up for sale or recently sold. But only one of them will be crowned the country’s “wildest” at the end of the series, as assessed by HGTV executives. Viewers who correctly guess the winning home can enter a pool for the chance to win $25,000.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/103_zillow-gone-wild_ships-ahoy_interior_custom-f5c7b8593923a6ac670b75e13ac958fe69d06cc5.jpg?s=1200&c=75&f=jpeg\" alt=\"Two women in short dresses stand in the middle of a room that looks like a pirate-themed bar. They are talking to a white man, wearing basic t-shirt and blue jeans.\" width=\"1200\" height=\"848\">\u003cfigcaption class=\"wp-caption-text\">Kitty Reign and her wife, Jennifer, show host Jack McBrayer around their ‘Pirates of the Caribbean’-themed house, as seen on HGTV’s new series ‘Zillow Gone Wild.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The judging criteria include creativity, commitment to a concept or theme and a quality McBrayer describes as “wackadoo.”\u003c/p>\n\u003cp>“That special thing that sets this property apart,” says McBrayer on the show. “We reward impracticality.”\u003c/p>\n\u003ch3>The growth of an American pastime\u003c/h3>\n\u003cp>Ogling real estate listings on social media has become an enormously popular American pastime in recent years. \u003cem>Saturday Night Live\u003c/em> even did \u003ca href=\"https://www.youtube.com/watch?v=yEfsaXDX0UQ\">a skit\u003c/a> about the trend in 2021. (“The pleasure you once got from sex now comes from looking at other people’s houses.”)\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/yEfsaXDX0UQ'\n title='//www.youtube.com/embed/yEfsaXDX0UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mezrahi, who’s based in New York, says he has long made a hobby of idly browsing Zillow. He started \u003cem>Zillow Gone Wild\u003c/em> as a side project in the fall of 2020, knowing it would probably catch on. Mezrahi initially launched it only on Instagram, but soon expanded his offering to Facebook, Twitter, TikTok and a newsletter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952549",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It was, like, prime pandemic. Everyone’s working from home. Companies are saying you can live wherever you want,” Mezrahi says. “So people are moving, thinking about moving, or browsing Zillow just as a bored-on-your-phone thing. So I kind of felt like there was an audience of people out there that are also doing this.”\u003c/p>\n\u003cp>The rise of TV and online channels devoted to home buying and home improvement, together with the increasingly elaborate social media presence of individual real estate brokers promoting their listings, have further fed the trend.\u003c/p>\n\u003cp>“This is a time when a lot of people are thinking about where and how we want to live,” says Zillow’s home trends expert, Amanda Pendleton, in an interview with NPR. “And these social media accounts captured our imagination and redefined what a home can be.”\u003c/p>\n\u003ch3>“Wild” listings can be challenging for real estate brokers\u003c/h3>\n\u003cp>That “imagination capturing” quality is what makes \u003cem>Zillow Gone Wild\u003c/em> so compelling on TikTok and TV.\u003c/p>\n\u003cp>But when it comes to actually selling a property, eccentric architecture and festive home decor aren’t necessarily virtues.\u003c/p>\n\u003cp>“As a real estate broker, you kind of get nervous about that, because the resale value is not the greatest when you’re making it your own,” says San Francisco Bay Area-based realtor Ria Cotton in an interview with NPR. “It may not be liked by other people.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/jack-mcbrayer_zillow-gone-wild-39a4782504c66c17d993e2558052aad0bc9c8149.jpg?s=1200&c=75&f=jpeg\" alt=\"A white man smiling broadly stands on a spiral staircase with gold accents.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Host Jack McBrayer taking in the sights of the ‘Golden Saxophone House.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>While having a marketable property is preferable, Cotton admits the popularity of social media accounts like \u003cem>Zillow Gone Wild\u003c/em> shows there’s a growing appetite among homebuyers and potential homebuyers for the “wackadoo.”\u003c/p>\n\u003cp>“I think more and more people are kind of bored of the cookie-cutter way of doing things,” Cotton says.\u003c/p>\n\u003cp>Case in point: An unusual music-themed home in Berkeley, Calif., that Cotton recently brokered, featured in \u003cem>Zillow Gone Wild.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952420",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The facade of the “Saxophone House” is dominated by two massive, gold saxophone-shaped columns. On the TV show, new homeowner Adanté Pointer proudly shows off the gold treble clef ornaments on the balcony railings indoors.\u003c/p>\n\u003cp>“The gold accents really make it stand out,” Pointer says appreciatively.\u003c/p>\n\u003cp>The smooth jazz vibes and bling of the Saxophone House might not be for everyone. But Pointer says it’s perfect for him.\u003c/p>\n\u003cp>“I am an attorney, and oftentimes, people come to me to make a statement on their behalf,” he says on the show. “And when you look at the outside of this home, it’s definitely a statement piece.”\u003c/p>\n\u003cp>In an interview with NPR, TV show host McBrayer says if visiting all of the homes featured in the \u003cem>Zillow Gone Wild \u003c/em>TV series taught him anything, it’s that even the wildest of homes won’t sit empty forever.\u003c/p>\n\u003cp>“For every house out there that is just head-to-toe rainbow-colored, there is going to be a buyer. For every home that is attached to the underside of a bridge, there’s going to be a buyer,” McBrayer says. “There’s a lid for every pot.”\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>‘Zillow Gone Wild’ premiered on HGTV on May 3 at 7:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957264/zillow-gone-wild-hgtv-review-jack-mcbrayer-fun-home-listings",
"authors": [
"byline_arts_13957264"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_3945",
"arts_21952"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13957265",
"label": "arts_140"
},
"arts_13957223": {
"type": "posts",
"id": "arts_13957223",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957223",
"score": null,
"sort": [
1714769587000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1714769587,
"format": "standard",
"title": "Nature and Human Nature Mingle in the Beguiling ‘Evil Does Not Exist’",
"headTitle": "Nature and Human Nature Mingle in the Beguiling ‘Evil Does Not Exist’ | KQED",
"content": "\u003cp>The films of Ryusuke Hamaguchi unspool with elegant everyday ease and yet anything can happen.\u003c/p>\n\u003cp>Lives take sudden detours. Seemingly minor characters become primary ones. People are brought together by mysterious connections. There are even, as in the case of his \u003cem>Asako I & II\u003c/em>, doppelgangers. Soberly naturalistic as Hamaguchi’s movies are, they’re among the most beguilingly unpredictable.\u003c/p>\n\u003cp>That was true of his Oscar-nominated \u003cem>Drive My Car\u003c/em>, which over the course of three hours took winding narrative turns in route to its moving terminus. But it’s doubly so in Hamaguchi’s \u003cem>Evil Does Not Exist\u003c/em>, a shorter and more enigmatic drama but a no less enchanting one.\u003c/p>\n\u003cp>[aside postid='arts_13957217']The first images of \u003cem>Evil Does Not Exist\u003c/em> are looking upward at tree branches against the sky while we move slowly through the forest. It’s a sign of what’s to come in a movie that asks plenty of questions about how we interact with nature, and Hamaguchi holds the shot several times longer than most filmmakers would.\u003c/p>\n\u003cp>The gaze, if it’s anyone’s, is of Hana (Ryo Nishikawa), the 8-year-old daughter of Takumi (Hitoshi Omika), a self-described jack-of-all-trades (though he does little self-describing) who lives with Hana in a rustic cabin in rural Japan. The area is pristine, with fresh spring water running down mountain streams. And Takumi, like most of the local residents, is alert to its splendor. While he and Hana walk through lightly snow-covered woods, he quizzes her on the plant life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But something ominous is tugging at \u003cem>Evil Does Not Exist\u003c/em> despite the assertive certainty of that title. The score, by Eiko Ishibashi, is mournful. The father and daughter come across a dead fawn in the forest. A gunshot is heard from nearby hunters. Later, blood drips from a small branch. It’s maybe not a coincidence that the film’s opening images of trees are followed by a lengthy scene of wood chopping.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zVY4lWfrbME\u003c/p>\n\u003cp>Just what is fragile and wounded in \u003cem>Evil Does Not Exist\u003c/em>, though, isn’t always clear. The serenity is snapped when a company named Playmode comes to town to open a glamping camp for tourists. In a town gathering, a pair of company representatives from Tokyo pitch their plans. During the scene, easily the longest in the film, our attention is mainly on Takumi and other townspeople who quickly and perceptively poke holes in the designs and the ecological impact it will have. “Water always flows downhill,” the village chief says.\u003c/p>\n\u003cp>[aside postid='arts_13957183']From here, \u003cem>Evil Does Not Exist\u003c/em> sticks closer to those two representatives: Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani). In another film, they might be extras or villains, but for Hamaguchi, they’re people, like any others, with their own hopes and regrets. When they, after being pressured by their boss in a meeting over Zoom, return to spend time with Takumi and convince him to be the camp’s caretaker, it’s not clear until the film’s last bewildering and unforgettable moments if they’re becoming friends or if one side will dominate the other.\u003c/p>\n\u003cp>“Balance is key,” one character says of nature in the film. \u003cem>Evil Does Not Exist\u003c/em>, though, is boldly uneven. Its final, harrowing scenes, bathed in an intoxicating mist, pass in a comparative rush. In interviews, Hamaguchi has suggested his movie remains mysterious even to him. It’s a jarring finale but also a devastatingly haunting one that blends a child’s fate with a fawn’s — another doppelganger, maybe — leaving us to ponder an earlier exchange between Takumi and Takahashi about deer the glamping site would displace.\u003c/p>\n\u003cp>“Where would they go?” Takumi asks. “Somewhere else, I guess,” Takashi shrugs.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evil Does Not Exist’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 675,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1714769587,
"excerpt": "A new enigmatic — and somewhat ominous — movie from Ryusuke Hamaguchi questions how humanity interacts with the natural world. ",
"headData": {
"twImgId": "",
"twTitle": "Nature and Human Nature Mingle in the Beguiling ‘Evil Does Not Exist’",
"socialTitle": "‘Evil Does Not Exist’ Review: Ryusuke Hamaguchi Ponders Nature%%page%% %%sep%% KQED",
"ogTitle": "Nature and Human Nature Mingle in the Beguiling ‘Evil Does Not Exist’",
"ogImgId": "",
"twDescription": "",
"description": "A new enigmatic — and somewhat ominous — movie from Ryusuke Hamaguchi questions how humanity interacts with the natural world. ",
"title": "‘Evil Does Not Exist’ Review: Ryusuke Hamaguchi Ponders Nature | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nature and Human Nature Mingle in the Beguiling ‘Evil Does Not Exist’",
"datePublished": "2024-05-03T13:53:07-07:00",
"dateModified": "2024-05-03T13:53:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film",
"status": "publish",
"templateType": "standard",
"nprByline": "Jake Coyle, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13957223",
"path": "/arts/13957223/evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The films of Ryusuke Hamaguchi unspool with elegant everyday ease and yet anything can happen.\u003c/p>\n\u003cp>Lives take sudden detours. Seemingly minor characters become primary ones. People are brought together by mysterious connections. There are even, as in the case of his \u003cem>Asako I & II\u003c/em>, doppelgangers. Soberly naturalistic as Hamaguchi’s movies are, they’re among the most beguilingly unpredictable.\u003c/p>\n\u003cp>That was true of his Oscar-nominated \u003cem>Drive My Car\u003c/em>, which over the course of three hours took winding narrative turns in route to its moving terminus. But it’s doubly so in Hamaguchi’s \u003cem>Evil Does Not Exist\u003c/em>, a shorter and more enigmatic drama but a no less enchanting one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957217",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The first images of \u003cem>Evil Does Not Exist\u003c/em> are looking upward at tree branches against the sky while we move slowly through the forest. It’s a sign of what’s to come in a movie that asks plenty of questions about how we interact with nature, and Hamaguchi holds the shot several times longer than most filmmakers would.\u003c/p>\n\u003cp>The gaze, if it’s anyone’s, is of Hana (Ryo Nishikawa), the 8-year-old daughter of Takumi (Hitoshi Omika), a self-described jack-of-all-trades (though he does little self-describing) who lives with Hana in a rustic cabin in rural Japan. The area is pristine, with fresh spring water running down mountain streams. And Takumi, like most of the local residents, is alert to its splendor. While he and Hana walk through lightly snow-covered woods, he quizzes her on the plant life.\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>But something ominous is tugging at \u003cem>Evil Does Not Exist\u003c/em> despite the assertive certainty of that title. The score, by Eiko Ishibashi, is mournful. The father and daughter come across a dead fawn in the forest. A gunshot is heard from nearby hunters. Later, blood drips from a small branch. It’s maybe not a coincidence that the film’s opening images of trees are followed by a lengthy scene of wood chopping.\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/zVY4lWfrbME'\n title='//www.youtube.com/embed/zVY4lWfrbME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just what is fragile and wounded in \u003cem>Evil Does Not Exist\u003c/em>, though, isn’t always clear. The serenity is snapped when a company named Playmode comes to town to open a glamping camp for tourists. In a town gathering, a pair of company representatives from Tokyo pitch their plans. During the scene, easily the longest in the film, our attention is mainly on Takumi and other townspeople who quickly and perceptively poke holes in the designs and the ecological impact it will have. “Water always flows downhill,” the village chief says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957183",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>From here, \u003cem>Evil Does Not Exist\u003c/em> sticks closer to those two representatives: Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani). In another film, they might be extras or villains, but for Hamaguchi, they’re people, like any others, with their own hopes and regrets. When they, after being pressured by their boss in a meeting over Zoom, return to spend time with Takumi and convince him to be the camp’s caretaker, it’s not clear until the film’s last bewildering and unforgettable moments if they’re becoming friends or if one side will dominate the other.\u003c/p>\n\u003cp>“Balance is key,” one character says of nature in the film. \u003cem>Evil Does Not Exist\u003c/em>, though, is boldly uneven. Its final, harrowing scenes, bathed in an intoxicating mist, pass in a comparative rush. In interviews, Hamaguchi has suggested his movie remains mysterious even to him. It’s a jarring finale but also a devastatingly haunting one that blends a child’s fate with a fawn’s — another doppelganger, maybe — leaving us to ponder an earlier exchange between Takumi and Takahashi about deer the glamping site would displace.\u003c/p>\n\u003cp>“Where would they go?” Takumi asks. “Somewhere else, I guess,” Takashi shrugs.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evil Does Not Exist’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957223/evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film",
"authors": [
"byline_arts_13957223"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_2627",
"arts_769",
"arts_585"
],
"featImg": "arts_13957224",
"label": "arts_140"
},
"arts_13957217": {
"type": "posts",
"id": "arts_13957217",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957217",
"score": null,
"sort": [
1714767633000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1714767633,
"format": "standard",
"title": "Bold, Audacious ‘I Saw the TV Glow’ Explores Fandom, Identity and the Way We Remember",
"headTitle": "Bold, Audacious ‘I Saw the TV Glow’ Explores Fandom, Identity and the Way We Remember | KQED",
"content": "\u003cp>The school gym. The football field bleachers. The multiplex, the fast food drive-thru, the quiet leaf-covered street where your friend lives.\u003c/p>\n\u003cp>Something about the detail and clarity with which Jane Schoenbrun evokes ’90s suburbia in \u003cem>I Saw the TV Glow\u003c/em> makes you remember growing up there — even if you didn’t.\u003c/p>\n\u003cp>But that’s the thing about memory, isn’t it? It can be distorting.\u003c/p>\n\u003cp>[aside postid='arts_13956892']And that’s what Schoenbrun, an exciting filmmaker on only their second project, is driving home in this tale centered on those angsty school years when you’re trying to fit in, or merely realizing you don’t — particularly, and more intensely, if you are queer or trans and don’t quite know it yet.\u003c/p>\n\u003cp>Schoenbrun has spoken about their own suburban youth in the ‘90s, feeling different but not fully understanding why until years later when they began their own transition. The backstory of Schoenbrun’s own experience is not essential to appreciating their movie, but certainly adds poignancy to some scenes — especially one in which the main character, Owen (Justice Smith, superb), describes the confusion he’s been feeling about himself. Something is wrong with him, he knows, even though his parents won’t say it. He feels like someone has dug out his insides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, one need not be an aficionado of ’90s cable TV — particularly \u003cem>Buffy the Vampire Slayer\u003c/em>, which Schoenbrun grew up loving — to understand the huge role that fandom plays in the emotional life of Owen and his new friend, Maddy (Brigette Lundy-Paine). If you were a big fan of any show that aired before the streaming era, you’ll understand instinctively how that intense connection can lead to distorted memories: Watch it today, and what felt scary is now silly. What seemed like art is a cheesy mess.\u003c/p>\n\u003cp>But we remember what we remember for a reason, Schoenbrun is saying, in a film that succeeds most clearly on an emotional level, if the plot eventually feels a bit muddled. (But is that purposeful, another meditation on the selectiveness of memory, or a reflection of the jumbled way we think in youth? Yes, in all likelihood.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kymDzCgPwj0&t=11s\u003c/p>\n\u003cp>We first meet middle-school aged Owen (a wonderfully empathetic Ian Foreman plays this younger version) on Election Day 1996. Owen’s mom (Danielle Deadwyler) takes him into the voting booth at the high school. But Owen’s interested in something else: older student Maddy, who exudes a Goth toughness, reading a book of episodes of \u003cem>The Pink Opaque\u003c/em>, a horror-esque series on cable. Owen has seen the ads, but the show airs past his bedtime: at 10:30 on Saturday nights, just before the Young Adult Network switches to reruns.\u003c/p>\n\u003cp>[aside postid='arts_13957078']Maddy’s in 9th grade; the two-year gap feels enormous. But she is eager to bond over the show. The next Saturday Owen asks his mother if he can sleep at a male friend’s house, but makes his way instead to Maddy’s basement. Thus begins a deep connection to the show which follows two girls who meet at sleepaway camp and learn they connect on an ancient psychic plane. They unite to destroy a new monster each week, monsters ruled by an evil Man in the Moon named Mr. Melancholy.\u003c/p>\n\u003cp>Mr. Melancholy wants to trap Isabel (Helena Howard) and Tara (Lindsey Jordan, aka the musician Snail Mail) in the Midnight Realm, and that one factoid leads to some comic relief: “This isn’t the Midnight Realm,” Owen exclaims to Maddy at one point. “It’s just the suburbs!”\u003c/p>\n\u003cp>But we’re getting ahead of ourselves. Two years go by and Maddy has been leaving Owen VHS tapes of \u003cem>The Pink Opaque\u003c/em> in the school darkroom, annotated with observations. But he still hasn’t been able to see it at 10:30 on a Saturday. Asks his stern father: “Isn’t that a show for girls?” His parents decline his request to stay up late. (Dad, by the way, is played by Fred Durst of Limp Bizkit; also appearing in a cameo is Phoebe Bridgers.)\u003c/p>\n\u003cp>So Owen (Smith, in a lovely and nuanced performance) plans another stealth sleepover. They watch together, and Maddy weeps. She then tells Owen she is leaving town. He is torn about whether to join her. Years go by, and eventually \u003cem>The Pink Opaque\u003c/em> is canceled.\u003c/p>\n\u003cp>Remember when you could touch and collect tapes, albums, that sort of thing? Somehow that seemed more of a concrete relationship with the culture we consume than the equivalent today. You don’t have to worry nowadays about remembering a show wrong: you can always find it somewhere. But you don’t feel you “own” it anymore than you “own” a song on Spotify.\u003c/p>\n\u003cp>Schoenbrun acknowledges this when they show an adult Owen later re-watching his beloved show on streaming and realizing, with sadness and even embarrassment, that nothing’s what it seemed.\u003c/p>\n\u003cp>[aside postid='arts_13955781']But the show’s significance has much deeper meaning. We all love a good escape-to-another-world tale — it’s something we treasure from childhood. But here, in ’90s suburbia, the TV screen becomes a portal not only into an escapist world but also, on another level, to the opposite: a new reality that is not fake at all, a world in which Owen can be himself. The self he may not yet really know.\u003c/p>\n\u003cp>Schoenbrun made their first film, \u003cem>We’re All Going to the World’s Fair\u003c/em>, with, in their own words, “12 people in the woods.” Now, their film is being produced by Emma Stone and released by boutique indie studio A24. It’s a whole different world for them — and a vital new filmmaking voice for us all to follow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Saw the TV Glow’ begins showing in the Bay Area on May 8, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1043,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1714767633,
"excerpt": "In this exciting movie, Jane Schoenbrun evokes ’90s suburbia and a time when culture was more tangible.",
"headData": {
"twImgId": "",
"twTitle": "Bold, Audacious ‘I Saw the TV Glow’ Explores Fandom, Identity and the Way We Remember",
"socialTitle": "‘I Saw the TV Glow’ Review: An Exciting Take on Identity, Memory %%page%% %%sep%% KQED",
"ogTitle": "Bold, Audacious ‘I Saw the TV Glow’ Explores Fandom, Identity and the Way We Remember",
"ogImgId": "",
"twDescription": "",
"description": "In this exciting movie, Jane Schoenbrun evokes ’90s suburbia and a time when culture was more tangible.",
"title": "‘I Saw the TV Glow’ Review: An Exciting Take on Identity, Memory | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bold, Audacious ‘I Saw the TV Glow’ Explores Fandom, Identity and the Way We Remember",
"datePublished": "2024-05-03T13:20:33-07:00",
"dateModified": "2024-05-03T13:20:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember",
"status": "publish",
"templateType": "standard",
"nprByline": "Jocelyn Noveck, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13957217",
"path": "/arts/13957217/bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The school gym. The football field bleachers. The multiplex, the fast food drive-thru, the quiet leaf-covered street where your friend lives.\u003c/p>\n\u003cp>Something about the detail and clarity with which Jane Schoenbrun evokes ’90s suburbia in \u003cem>I Saw the TV Glow\u003c/em> makes you remember growing up there — even if you didn’t.\u003c/p>\n\u003cp>But that’s the thing about memory, isn’t it? It can be distorting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956892",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And that’s what Schoenbrun, an exciting filmmaker on only their second project, is driving home in this tale centered on those angsty school years when you’re trying to fit in, or merely realizing you don’t — particularly, and more intensely, if you are queer or trans and don’t quite know it yet.\u003c/p>\n\u003cp>Schoenbrun has spoken about their own suburban youth in the ‘90s, feeling different but not fully understanding why until years later when they began their own transition. The backstory of Schoenbrun’s own experience is not essential to appreciating their movie, but certainly adds poignancy to some scenes — especially one in which the main character, Owen (Justice Smith, superb), describes the confusion he’s been feeling about himself. Something is wrong with him, he knows, even though his parents won’t say it. He feels like someone has dug out his insides.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similarly, one need not be an aficionado of ’90s cable TV — particularly \u003cem>Buffy the Vampire Slayer\u003c/em>, which Schoenbrun grew up loving — to understand the huge role that fandom plays in the emotional life of Owen and his new friend, Maddy (Brigette Lundy-Paine). If you were a big fan of any show that aired before the streaming era, you’ll understand instinctively how that intense connection can lead to distorted memories: Watch it today, and what felt scary is now silly. What seemed like art is a cheesy mess.\u003c/p>\n\u003cp>But we remember what we remember for a reason, Schoenbrun is saying, in a film that succeeds most clearly on an emotional level, if the plot eventually feels a bit muddled. (But is that purposeful, another meditation on the selectiveness of memory, or a reflection of the jumbled way we think in youth? Yes, in all likelihood.)\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/kymDzCgPwj0'\n title='//www.youtube.com/embed/kymDzCgPwj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet middle-school aged Owen (a wonderfully empathetic Ian Foreman plays this younger version) on Election Day 1996. Owen’s mom (Danielle Deadwyler) takes him into the voting booth at the high school. But Owen’s interested in something else: older student Maddy, who exudes a Goth toughness, reading a book of episodes of \u003cem>The Pink Opaque\u003c/em>, a horror-esque series on cable. Owen has seen the ads, but the show airs past his bedtime: at 10:30 on Saturday nights, just before the Young Adult Network switches to reruns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957078",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Maddy’s in 9th grade; the two-year gap feels enormous. But she is eager to bond over the show. The next Saturday Owen asks his mother if he can sleep at a male friend’s house, but makes his way instead to Maddy’s basement. Thus begins a deep connection to the show which follows two girls who meet at sleepaway camp and learn they connect on an ancient psychic plane. They unite to destroy a new monster each week, monsters ruled by an evil Man in the Moon named Mr. Melancholy.\u003c/p>\n\u003cp>Mr. Melancholy wants to trap Isabel (Helena Howard) and Tara (Lindsey Jordan, aka the musician Snail Mail) in the Midnight Realm, and that one factoid leads to some comic relief: “This isn’t the Midnight Realm,” Owen exclaims to Maddy at one point. “It’s just the suburbs!”\u003c/p>\n\u003cp>But we’re getting ahead of ourselves. Two years go by and Maddy has been leaving Owen VHS tapes of \u003cem>The Pink Opaque\u003c/em> in the school darkroom, annotated with observations. But he still hasn’t been able to see it at 10:30 on a Saturday. Asks his stern father: “Isn’t that a show for girls?” His parents decline his request to stay up late. (Dad, by the way, is played by Fred Durst of Limp Bizkit; also appearing in a cameo is Phoebe Bridgers.)\u003c/p>\n\u003cp>So Owen (Smith, in a lovely and nuanced performance) plans another stealth sleepover. They watch together, and Maddy weeps. She then tells Owen she is leaving town. He is torn about whether to join her. Years go by, and eventually \u003cem>The Pink Opaque\u003c/em> is canceled.\u003c/p>\n\u003cp>Remember when you could touch and collect tapes, albums, that sort of thing? Somehow that seemed more of a concrete relationship with the culture we consume than the equivalent today. You don’t have to worry nowadays about remembering a show wrong: you can always find it somewhere. But you don’t feel you “own” it anymore than you “own” a song on Spotify.\u003c/p>\n\u003cp>Schoenbrun acknowledges this when they show an adult Owen later re-watching his beloved show on streaming and realizing, with sadness and even embarrassment, that nothing’s what it seemed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13955781",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the show’s significance has much deeper meaning. We all love a good escape-to-another-world tale — it’s something we treasure from childhood. But here, in ’90s suburbia, the TV screen becomes a portal not only into an escapist world but also, on another level, to the opposite: a new reality that is not fake at all, a world in which Owen can be himself. The self he may not yet really know.\u003c/p>\n\u003cp>Schoenbrun made their first film, \u003cem>We’re All Going to the World’s Fair\u003c/em>, with, in their own words, “12 people in the woods.” Now, their film is being produced by Emma Stone and released by boutique indie studio A24. It’s a whole different world for them — and a vital new filmmaking voice for us all to follow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Saw the TV Glow’ begins showing in the Bay Area on May 8, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957217/bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember",
"authors": [
"byline_arts_13957217"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13957218",
"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": 696,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2976,
"relation": "eq"
},
"items": [
"arts_13957803",
"arts_13957814",
"arts_13957749",
"arts_13957725",
"arts_13957624",
"arts_13957540",
"arts_13957460",
"arts_13957455",
"arts_13957370",
"arts_13957264",
"arts_13957223",
"arts_13957217"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_popculture": {
"isLoading": true
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_21839": {
"type": "terms",
"id": "arts_21839",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21839",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Amy Winehouse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Amy Winehouse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21851,
"slug": "amy-winehouse",
"isLoading": false,
"link": "/arts/tag/amy-winehouse"
},
"arts_21748": {
"type": "terms",
"id": "arts_21748",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21748",
"found": true
},
"relationships": {},
"featImg": null,
"name": "biopic",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "biopic Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21760,
"slug": "biopic",
"isLoading": false,
"link": "/arts/tag/biopic"
},
"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_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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_5221": {
"type": "terms",
"id": "arts_5221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fiction",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fiction Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5233,
"slug": "fiction",
"isLoading": false,
"link": "/arts/tag/fiction"
},
"arts_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_22017": {
"type": "terms",
"id": "arts_22017",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22017",
"found": true
},
"relationships": {},
"featImg": null,
"name": "short stories",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "short stories Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22029,
"slug": "short-stories",
"isLoading": false,
"link": "/arts/tag/short-stories"
},
"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_21719": {
"type": "terms",
"id": "arts_21719",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21719",
"found": true
},
"relationships": {},
"featImg": null,
"name": "autobiography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "autobiography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21731,
"slug": "autobiography",
"isLoading": false,
"link": "/arts/tag/autobiography"
},
"arts_7264": {
"type": "terms",
"id": "arts_7264",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7264",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bikini Kill",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bikini Kill Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7276,
"slug": "bikini-kill",
"isLoading": false,
"link": "/arts/tag/bikini-kill"
},
"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_6064": {
"type": "terms",
"id": "arts_6064",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6064",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Paradise",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Paradise Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6076,
"slug": "paradise",
"isLoading": false,
"link": "/arts/tag/paradise"
},
"arts_6024": {
"type": "terms",
"id": "arts_6024",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6024",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wildfires",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wildfires Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6036,
"slug": "wildfires",
"isLoading": false,
"link": "/arts/tag/wildfires"
},
"arts_21880": {
"type": "terms",
"id": "arts_21880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Climate",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Climate Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21892,
"slug": "climate",
"isLoading": false,
"link": "/arts/interest/climate"
},
"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_22145": {
"type": "terms",
"id": "arts_22145",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22145",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bob Ross",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bob Ross Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22157,
"slug": "bob-ross",
"isLoading": false,
"link": "/arts/tag/bob-ross"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_12735": {
"type": "terms",
"id": "arts_12735",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12735",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Gen Z",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Gen Z Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12747,
"slug": "gen-z",
"isLoading": false,
"link": "/arts/tag/gen-z"
},
"arts_10157": {
"type": "terms",
"id": "arts_10157",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10157",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mystery",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mystery Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10169,
"slug": "mystery",
"isLoading": false,
"link": "/arts/tag/mystery"
},
"arts_15812": {
"type": "terms",
"id": "arts_15812",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15812",
"found": true
},
"relationships": {},
"featImg": null,
"name": "period drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "period drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15824,
"slug": "period-drama",
"isLoading": false,
"link": "/arts/tag/period-drama"
},
"arts_15246": {
"type": "terms",
"id": "arts_15246",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15246",
"found": true
},
"relationships": {},
"featImg": null,
"name": "action",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "action Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15258,
"slug": "action",
"isLoading": false,
"link": "/arts/tag/action"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_22039": {
"type": "terms",
"id": "arts_22039",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22039",
"found": true
},
"relationships": {},
"featImg": null,
"name": "artifical intelligence",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "artifical intelligence Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22051,
"slug": "artifical-intelligence",
"isLoading": false,
"link": "/arts/tag/artifical-intelligence"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_22131": {
"type": "terms",
"id": "arts_22131",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22131",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Met Gala",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Met Gala Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22143,
"slug": "met-gala",
"isLoading": false,
"link": "/arts/tag/met-gala"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_3945": {
"type": "terms",
"id": "arts_3945",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3945",
"found": true
},
"relationships": {},
"featImg": null,
"name": "real estate",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "real estate Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3957,
"slug": "real-estate",
"isLoading": false,
"link": "/arts/tag/real-estate"
},
"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_2627": {
"type": "terms",
"id": "arts_2627",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2627",
"found": true
},
"relationships": {},
"featImg": null,
"name": "japan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "japan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2639,
"slug": "japan",
"isLoading": false,
"link": "/arts/tag/japan"
}
},
"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
}
}
