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_13952650": {
"type": "attachments",
"id": "arts_13952650",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952650",
"found": true
},
"parent": 13952420,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9.jpg",
"width": 1176,
"height": 662
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1708473337,
"modified": 1708473391,
"caption": "Our Lady of Dolly Parton and Saint Billy, the Boston Terrier. ",
"description": null,
"title": "Dolly.16x9",
"credit": "Courtesy of Dolly Parton",
"status": "inherit",
"altTag": "A blonde smiling woman bends down towards a bandana-wearing dog.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952568": {
"type": "attachments",
"id": "arts_13952568",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952568",
"found": true
},
"parent": 13952563,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-160x99.png",
"width": 160,
"mimeType": "image/png",
"height": 99
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM.png",
"width": 2042,
"height": 1262
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-1020x630.png",
"width": 1020,
"mimeType": "image/png",
"height": 630
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-1536x949.png",
"width": 1536,
"mimeType": "image/png",
"height": 949
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-1920x1187.png",
"width": 1920,
"mimeType": "image/png",
"height": 1187
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-800x494.png",
"width": 800,
"mimeType": "image/png",
"height": 494
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.53-AM-768x475.png",
"width": 768,
"mimeType": "image/png",
"height": 475
}
},
"publishDate": 1708450577,
"modified": 1708450916,
"caption": "Nolan Almeida as Peter Pan and Hawa Kamara as Wendy.",
"description": null,
"title": "Nolan Almeida as Peter Pan and Hawa Kamara as Wendy.",
"credit": "Matthew Murphy/ Bond Theatrical via AP",
"status": "inherit",
"altTag": "A stage set of a bedroom. Peter Pan stands front of stage, a Black girl sits behind, close to the floor.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952550": {
"type": "attachments",
"id": "arts_13952550",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952550",
"found": true
},
"parent": 13952549,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-160x114.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 114
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef.jpg",
"width": 1100,
"height": 781
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-1020x724.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 724
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-800x568.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 568
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-768x545.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 545
}
},
"publishDate": 1708445378,
"modified": 1708445804,
"caption": "Above, Denyse, left, Wilder, and Corey in the ‘Communication’ episode of ‘Couple to Throuple.’.",
"description": null,
"title": "Above, Denyse, left, Wilder, and Corey in the ‘Communication’ episode of ‘Couple to Throuple.’.",
"credit": "Paul Castillero/ Peacock",
"status": "inherit",
"altTag": "A man in brightly colored clothes stands with his arms around two women. Both women are kissing him on the cheeks.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952495": {
"type": "attachments",
"id": "arts_13952495",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952495",
"found": true
},
"parent": 13952488,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM-160x108.png",
"width": 160,
"mimeType": "image/png",
"height": 108
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM.png",
"width": 1370,
"height": 928
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM-1020x691.png",
"width": 1020,
"mimeType": "image/png",
"height": 691
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM-800x542.png",
"width": 800,
"mimeType": "image/png",
"height": 542
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-16-at-11.17.08-AM-768x520.png",
"width": 768,
"mimeType": "image/png",
"height": 520
}
},
"publishDate": 1708111092,
"modified": 1708111745,
"caption": "Harry Einhorn, Tandin Sonar and Tandin Wangchuk in ‘The Monk and the Gun.’",
"description": null,
"title": "Harry Einhorn, Tandin Sonar and Tandin Wangchuk in ‘The Monk and the Gun.’",
"credit": "Roadside Attractions via AP",
"status": "inherit",
"altTag": "A white man and an Asian man stand in a field of yellow flowers, tree-covered hills behind them. They are talking to a Buddhist monk who has a rifle slung over his shoulder.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952412": {
"type": "attachments",
"id": "arts_13952412",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952412",
"found": true
},
"parent": 13952409,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-160x104.png",
"width": 160,
"mimeType": "image/png",
"height": 104
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM.png",
"width": 1748,
"height": 1132
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-1020x661.png",
"width": 1020,
"mimeType": "image/png",
"height": 661
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-1536x995.png",
"width": 1536,
"mimeType": "image/png",
"height": 995
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-800x518.png",
"width": 800,
"mimeType": "image/png",
"height": 518
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-768x497.png",
"width": 768,
"mimeType": "image/png",
"height": 497
}
},
"publishDate": 1708031886,
"modified": 1708031991,
"caption": "Jennifer Lopez in ‘This is Me… Now: A Love Story.’",
"description": null,
"title": "Jennifer Lopez in ‘This is Me… Now: A Love Story.’",
"credit": "Prime Video via AP",
"status": "inherit",
"altTag": "A beautiful middle-aged Latina lies in bed, hair tousled.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952317": {
"type": "attachments",
"id": "arts_13952317",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952317",
"found": true
},
"parent": 13952306,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-scaled.jpg",
"width": 2560,
"height": 1707
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1998839628-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1707945335,
"modified": 1707945551,
"caption": "(L-R) Sean Wang, Zhang Li Hua, Yi Yan Fuei and Sam Davis attend the Oscar Nominees Luncheon in Beverly Hills on Feb. 12, 2024.",
"description": null,
"title": "(L-R) Sean Wang, Zhang Li Hua, Yi Yan Fuei and Sam Davis attend the Oscar Nominees Luncheon in Beverly Hills on Feb. 12, 2024.",
"credit": "VALERIE MACON/ AFP via Getty Images)",
"status": "inherit",
"altTag": "A young Asian man and two senior Asian women gesture wildly on a red carpet. A second man stands to their right.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952302": {
"type": "attachments",
"id": "arts_13952302",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952302",
"found": true
},
"parent": 13952301,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM.png",
"width": 1666,
"height": 1102
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-1020x675.png",
"width": 1020,
"mimeType": "image/png",
"height": 675
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-1536x1016.png",
"width": 1536,
"mimeType": "image/png",
"height": 1016
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-800x529.png",
"width": 800,
"mimeType": "image/png",
"height": 529
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-768x508.png",
"width": 768,
"mimeType": "image/png",
"height": 508
}
},
"publishDate": 1707937692,
"modified": 1707937804,
"caption": "Charlie Brown and Franklin in ‘Snoopy Presents: Welcome Home, Franklin.’ ",
"description": null,
"title": "Charlie Brown and Franklin in ‘Snoopy Presents: Welcome Home, Franklin.’",
"credit": "Apple TV+ via AP",
"status": "inherit",
"altTag": "An illustration of two boys, both wearing helmets, riding in a soapbox.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952159": {
"type": "attachments",
"id": "arts_13952159",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952159",
"found": true
},
"parent": 13952148,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM.png",
"width": 1662,
"height": 1096
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-1020x673.png",
"width": 1020,
"mimeType": "image/png",
"height": 673
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-1536x1013.png",
"width": 1536,
"mimeType": "image/png",
"height": 1013
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-800x528.png",
"width": 800,
"mimeType": "image/png",
"height": 528
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-13-at-12.03.26-PM-768x506.png",
"width": 768,
"mimeType": "image/png",
"height": 506
}
},
"publishDate": 1707854640,
"modified": 1707854750,
"caption": "Dakota Johnson in ‘Madame Web.’",
"description": null,
"title": "Dakota Johnson in ‘Madame Web.’",
"credit": "Columbia Pictures/ Sony via AP",
"status": "inherit",
"altTag": "A slender white woman with long dark hair stands in front of an elaborate spider web.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952135": {
"type": "attachments",
"id": "arts_13952135",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952135",
"found": true
},
"parent": 13952134,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66.jpg",
"width": 1352,
"height": 760
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1707849648,
"modified": 1707851267,
"caption": "Jon Stewart returned Monday as host of ‘The Daily Show.’",
"description": null,
"title": "Jon Stewart returned Monday as host of ‘The Daily Show.’",
"credit": "Matt Wilson/ Comedy Central",
"status": "inherit",
"altTag": "A white man in a suit sits behind a news desk in a TV studio.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952078": {
"type": "attachments",
"id": "arts_13952078",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952078",
"found": true
},
"parent": 13952077,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b.jpg",
"width": 1188,
"height": 891
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1707760831,
"modified": 1707761493,
"caption": "Cardi B. advertising for NYX Cosmetics.",
"description": null,
"title": "Cardi B. advertising for NYX Cosmetics.",
"credit": "NYX",
"status": "inherit",
"altTag": "A Black woman with very long nails holds up a lipstick.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952068": {
"type": "attachments",
"id": "arts_13952068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952068",
"found": true
},
"parent": 13952067,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-scaled-e1707713330675.jpg",
"width": 1920,
"height": 1280
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1463293152_slide-8e4dc1b2241222ecd7be5fafb973a2002ec60927-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1707712950,
"modified": 1707713465,
"caption": "Beyoncé accepts the Best Dance/Electronic Music Album award for ‘Renaissance’ onstage during the 2023 Grammy Awards.",
"description": null,
"title": "Beyoncé accepts the Best Dance/Electronic Music Album award for ‘Renaissance’ onstage during the 2023 Grammy Awards.",
"credit": "Frazer Harrison/ Getty Images",
"status": "inherit",
"altTag": "A Black woman wearing a gown stands on stage accepting an award. She is smiling.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952049": {
"type": "attachments",
"id": "arts_13952049",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952049",
"found": true
},
"parent": 13952039,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-160x111.png",
"width": 160,
"mimeType": "image/png",
"height": 111
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM.png",
"width": 1994,
"height": 1384
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-1020x708.png",
"width": 1020,
"mimeType": "image/png",
"height": 708
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-1536x1066.png",
"width": 1536,
"mimeType": "image/png",
"height": 1066
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-1920x1333.png",
"width": 1920,
"mimeType": "image/png",
"height": 1333
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-800x555.png",
"width": 800,
"mimeType": "image/png",
"height": 555
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.26.39-AM-768x533.png",
"width": 768,
"mimeType": "image/png",
"height": 533
}
},
"publishDate": 1707506829,
"modified": 1707506890,
"caption": "A moment from Hulu documentary series, 'Sasquatch'.",
"description": null,
"title": "A moment from Hulu documentary series, 'Sasquatch'.",
"credit": "Hulu",
"status": "inherit",
"altTag": "A person wearing a Bigfoot suit standing in the woods.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13952563": {
"type": "authors",
"id": "byline_arts_13952563",
"meta": {
"override": true
},
"slug": "byline_arts_13952563",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13952549": {
"type": "authors",
"id": "byline_arts_13952549",
"meta": {
"override": true
},
"slug": "byline_arts_13952549",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13952488": {
"type": "authors",
"id": "byline_arts_13952488",
"meta": {
"override": true
},
"slug": "byline_arts_13952488",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13952409": {
"type": "authors",
"id": "byline_arts_13952409",
"meta": {
"override": true
},
"slug": "byline_arts_13952409",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13952306": {
"type": "authors",
"id": "byline_arts_13952306",
"meta": {
"override": true
},
"slug": "byline_arts_13952306",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13952301": {
"type": "authors",
"id": "byline_arts_13952301",
"meta": {
"override": true
},
"slug": "byline_arts_13952301",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13952148": {
"type": "authors",
"id": "byline_arts_13952148",
"meta": {
"override": true
},
"slug": "byline_arts_13952148",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13952134": {
"type": "authors",
"id": "byline_arts_13952134",
"meta": {
"override": true
},
"slug": "byline_arts_13952134",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13952077": {
"type": "authors",
"id": "byline_arts_13952077",
"meta": {
"override": true
},
"slug": "byline_arts_13952077",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13952067": {
"type": "authors",
"id": "byline_arts_13952067",
"meta": {
"override": true
},
"slug": "byline_arts_13952067",
"name": "Rachel Treisman",
"isLoading": false
},
"byline_arts_13952039": {
"type": "authors",
"id": "byline_arts_13952039",
"meta": {
"override": true
},
"slug": "byline_arts_13952039",
"name": "Gabino Iglesias",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.40822
},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"title": "Pop Culture",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 67
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 67
}
},
{
"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_13952420": {
"type": "posts",
"id": "arts_13952420",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952420",
"score": null,
"sort": [
1708474651000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708474651,
"format": "standard",
"title": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"headTitle": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System | KQED",
"content": "\u003cp>Do you like dogs? And \u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton\u003c/a>? And watching things that make you feel like your brain might fall out of your ear? Has CBS got a treat for you!\u003c/p>\n\u003cp>\u003cem>Dolly Parton’s Pet Gala \u003c/em>combines dog fashion shows, celebrity cameos, country music, active duty servicemembers, dog puns (“Ruff Lauren,” anyone?) and an uncomfortable amount of canned laughter. It is awkward and unintentionally hilarious and formulaic in an incredibly old-fashioned way. It also contains a segment where Jessica Simpson talks — entirely out of left field — about how large her breasts are. But I’m getting ahead of myself!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pMpeG0u6fQE&t=15s\u003c/p>\n\u003cp>In order to fully convey the chaos that is this television production, I have broken down Dolly Parton’s rhinestone-encrusted fever dream into manageable segments. Try and stay with me as this spirals into ever-more-surreal territory.\u003c/p>\n\u003cp>Here is everything that happens in \u003cem>Dolly Parton’s Pet Gala\u003c/em>, premiering on CBS this week.\u003c/p>\n\u003ch2>Dog fashion shows\u003c/h2>\n\u003cp>There are five dog fashion shows peppered throughout this 90-minute special, with surprisingly few references to Dolly’s pet fashion line, \u003ca href=\"https://doggyparton.com/\">Doggy Parton\u003c/a>. (Not all of the pet outfits on display tonight are even in the line!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each fashion show is narrated by Jane Lynch (\u003cem>Best In Show\u003c/em>), who introduces dogs with names like Lucille Ball, La La, Lyra and — my personal favorite — Lieutenant Dan. (And yes, in case you were wondering, that dog \u003cem>is\u003c/em> missing two legs.) Lynch offers commentary like “Here’s Lemon, in a nod to heavy metal headbangers everywhere,” and starts the “Patriotic Pups”-themed runway by yelling “Are you ready to party like it’s 1776?” (She finishes it by shouting “Dog bless America!” because of course she does.)\u003c/p>\n\u003cp>This is, for some reason, genuinely compelling television.\u003c/p>\n\u003cp>[aside postid='pop_107990']One runway is soundtracked by KC of KC and the Sunshine Band performing “Boogie Shoes.” Another — specifically, the rock ‘n’ roll-themed runway — is soundtracked by teen guitar wizard \u003ca href=\"https://www.gracebowers.com/\">Grace Bowers\u003c/a>. Kelly Osborne wanders on a couple of times. Carson Kressley also shows up to co-commentate with Lynch and, in a subtle-not-subtle moment, tries to Jedi mind-trick middle America by staring directly into the camera and referring to “a beautiful trans …… formation.” All the while, the kid from \u003cem>Young Sheldon\u003c/em> sits in the front row chewing the scenery like a starving Rottweiler that’s just found a severed leg.\u003c/p>\n\u003cp>I can’t not look at all of it.\u003c/p>\n\u003cp>Dolly sits in for the final runway — a tribute to her most iconic fashion moments. All of a sudden, the doggy outfits come complete with fake boobs, blond wigs and false arms. Outfits from this segment include Dolly’s\u003ca href=\"https://www.youtube.com/watch?v=c1zJzr-kWsI\"> coat of many colors\u003c/a>, some of her festival get-ups and her \u003cem>9 to 5\u003c/em> lasso outfit. While watching this, I wrote in my notepad: “This runway is my new sleep paralysis demon.” I really, really mean that.\u003c/p>\n\u003cfigure id=\"attachment_13952795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/glastonbury-e1708630821301.png\" alt=\"A dog in a costume stands on a runway.\" width=\"1920\" height=\"1223\">\u003cfigcaption class=\"wp-caption-text\">A dog wearing a wig. And also an outfit Dolly Parton wore when she played the Glastonbury Festival in 2014. Just go with it. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Country music: Live!\u003c/h2>\n\u003cp>Dolly opens the show with an absolutely preposterous rendition of “Puppy Love” that involves her barking and howling while cameras zoom in on the faces of happy dogs sitting in the audience. It might be the most wonderfully surreal television I have ever seen, with \u003cem>Twin Peaks\u003c/em> as the only serious contender.\u003c/p>\n\u003cp>[aside postid='arts_13889581']A country gentleman named Chris Janson shows up next, singing a song that references river banks, cold beers, trucks and Bass Pro Shops. I have never in my life had a bad time in a Bass Pro Shop, so I feel immediate kinship with Mr. Janson. The spell is broken moments later, however, when he performs “Hound Dog” while a literal Bloodhound wearing a tiny top hat lies behind him on an amp, howling. This is a step too far, even for me. (I think it was the top hat that did it.)\u003c/p>\n\u003cfigure id=\"attachment_13952798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/hound-dog-e1708630968986.png\" alt=\"A man in a cowboy hat and black country shirt sits at a top hat-wearing Blood Hound.\" width=\"1920\" height=\"1125\">\u003cfigcaption class=\"wp-caption-text\">It’s the top hat, right? The top hat is offensive on some level. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carly Pierce, wearing an incomprehensibly constructed dress, shows up for duets of “9 to 5” and “Jolene” with Dolly. This is, of course, a seamless way to introduce a Dollywood reference into the proceedings, as Pierce apparently started performing there at age 16. (\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">It’s not a Dolly Parton TV special if it doesn’t include flagrant Dollywood promotion\u003c/a>!)\u003c/p>\n\u003cp>Joy Oladokun’s straightforward performance of “\u003ca href=\"https://www.youtube.com/watch?v=Ea9_egtJYMg\">If You’ve Got a Problem\u003c/a>” is gorgeous, but Lainey Wilson and Dolly performing “I Will Always Love You” is unequivocally the song of the night. Absolute belter, 10 out of 10. No notes if you ignore the outfits, both of which defy description.\u003c/p>\n\u003ch2>Random celebrities, doing the least\u003c/h2>\n\u003cp>Here are some famous people that show up in pre-recorded-at-home videos to talk about and/or to their dogs: Margaret Cho, Neil Patrick Harris, Drew Barrymore, Kristen Bell and Kristin Chenoweth.\u003c/p>\n\u003cp>[aside postid='arts_13922004']Here are some famous-ish people who show up in the studio to awkwardly introduce a segment, even though \u003cem>Entertainment Tonight\u003c/em>‘s Rachel Smith is doing most of the hosting: Kristin Cavallari, a musical duo named Tigirlily Gold, and Billy Ray Cyrus and his Australian wife. (Who is named Firerose, by the way. FIREROSE.)\u003c/p>\n\u003cp>There is even — and I was thoroughly taken aback when this started — an “In Memoriam” section featuring recently deceased dog-lovers. These include \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">Angus Cloud\u003c/a>, Tony Bennett, Tina Turner, Sinead O’Connor, tWitch (from \u003cem>The Ellen DeGeneres Show\u003c/em>) and many more. This is kind of sweet, but also fairly uncomfortable within the context.\u003c/p>\n\u003ch2>Dogs, doing the most\u003c/h2>\n\u003cp>Dogs that are service dogs. Dogs that are in the military. Dogs that do sports. Movie stunt dogs. Social media dogs. They all get a spotlight of one sort or another during \u003cem>Pet Gala\u003c/em>. At one point, Smith introduces a dog named Noodles like she’s just been asked out by Harry Styles, and I remain thoroughly confused hours after watching.\u003c/p>\n\u003cp>Oh, and Dolly reads a bedtime story to a room full of dogs too, but that’s to be expected, I suppose.\u003c/p>\n\u003cfigure id=\"attachment_13952799\" class=\"wp-caption aligncenter\" style=\"max-width: 2508px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png\" alt=\"A woman in a rocking chair reads from a book. Scattered around her are dogs lying on blankets. A dalmatian approaches her.\" width=\"2508\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png 2508w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1020x600.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-2048x1205.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1920x1130.png 1920w\" sizes=\"(max-width: 2508px) 100vw, 2508px\">\u003cfigcaption class=\"wp-caption-text\">This is one of the more normal things that happens in ‘Dolly Parton’s Pet Gala.’ Just FYI. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takeaways\u003c/h2>\n\u003col>\n\u003cli>That this made it onto network television in 2024 is astounding.\u003c/li>\n\u003cli>Famous people will do literally anything for Dolly Parton.\u003c/li>\n\u003cli>This might be one of the greatest things I have ever seen on TV.\u003c/li>\n\u003c/ol>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Pet Gala’ airs on CBS and streams on Paramount+ on Wednesday, Feb. 21 at 11 p.m. On demand viewing will also be available for Paramount+ Essential and Paramount+ with Showtime subscribers on Feb. 22.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1193,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1708631964,
"excerpt": "Dogs in dresses! Canned laughter! Country music! Celebrities being awkward! You can't not watch it.",
"headData": {
"twImgId": "",
"twTitle": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"socialTitle": "‘Dolly Parton’s Pet Gala’ TV Review: Surreal, Wholesome Hilarity %%page%% %%sep%% KQED",
"ogTitle": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"ogImgId": "",
"twDescription": "",
"description": "Dogs in dresses! Canned laughter! Country music! Celebrities being awkward! You can't not watch it.",
"title": "‘Dolly Parton’s Pet Gala’ TV Review: Surreal, Wholesome Hilarity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"datePublished": "2024-02-20T16:17:31-08:00",
"dateModified": "2024-02-22T11:59:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dolly-doggy-parton-pet-gala-review-cbs-tv-special-puppy-love",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13952420/dolly-doggy-parton-pet-gala-review-cbs-tv-special-puppy-love",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you like dogs? And \u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton\u003c/a>? And watching things that make you feel like your brain might fall out of your ear? Has CBS got a treat for you!\u003c/p>\n\u003cp>\u003cem>Dolly Parton’s Pet Gala \u003c/em>combines dog fashion shows, celebrity cameos, country music, active duty servicemembers, dog puns (“Ruff Lauren,” anyone?) and an uncomfortable amount of canned laughter. It is awkward and unintentionally hilarious and formulaic in an incredibly old-fashioned way. It also contains a segment where Jessica Simpson talks — entirely out of left field — about how large her breasts are. But I’m getting ahead of myself!\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/pMpeG0u6fQE'\n title='//www.youtube.com/embed/pMpeG0u6fQE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In order to fully convey the chaos that is this television production, I have broken down Dolly Parton’s rhinestone-encrusted fever dream into manageable segments. Try and stay with me as this spirals into ever-more-surreal territory.\u003c/p>\n\u003cp>Here is everything that happens in \u003cem>Dolly Parton’s Pet Gala\u003c/em>, premiering on CBS this week.\u003c/p>\n\u003ch2>Dog fashion shows\u003c/h2>\n\u003cp>There are five dog fashion shows peppered throughout this 90-minute special, with surprisingly few references to Dolly’s pet fashion line, \u003ca href=\"https://doggyparton.com/\">Doggy Parton\u003c/a>. (Not all of the pet outfits on display tonight are even in the 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>Each fashion show is narrated by Jane Lynch (\u003cem>Best In Show\u003c/em>), who introduces dogs with names like Lucille Ball, La La, Lyra and — my personal favorite — Lieutenant Dan. (And yes, in case you were wondering, that dog \u003cem>is\u003c/em> missing two legs.) Lynch offers commentary like “Here’s Lemon, in a nod to heavy metal headbangers everywhere,” and starts the “Patriotic Pups”-themed runway by yelling “Are you ready to party like it’s 1776?” (She finishes it by shouting “Dog bless America!” because of course she does.)\u003c/p>\n\u003cp>This is, for some reason, genuinely compelling television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_107990",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>One runway is soundtracked by KC of KC and the Sunshine Band performing “Boogie Shoes.” Another — specifically, the rock ‘n’ roll-themed runway — is soundtracked by teen guitar wizard \u003ca href=\"https://www.gracebowers.com/\">Grace Bowers\u003c/a>. Kelly Osborne wanders on a couple of times. Carson Kressley also shows up to co-commentate with Lynch and, in a subtle-not-subtle moment, tries to Jedi mind-trick middle America by staring directly into the camera and referring to “a beautiful trans …… formation.” All the while, the kid from \u003cem>Young Sheldon\u003c/em> sits in the front row chewing the scenery like a starving Rottweiler that’s just found a severed leg.\u003c/p>\n\u003cp>I can’t not look at all of it.\u003c/p>\n\u003cp>Dolly sits in for the final runway — a tribute to her most iconic fashion moments. All of a sudden, the doggy outfits come complete with fake boobs, blond wigs and false arms. Outfits from this segment include Dolly’s\u003ca href=\"https://www.youtube.com/watch?v=c1zJzr-kWsI\"> coat of many colors\u003c/a>, some of her festival get-ups and her \u003cem>9 to 5\u003c/em> lasso outfit. While watching this, I wrote in my notepad: “This runway is my new sleep paralysis demon.” I really, really mean that.\u003c/p>\n\u003cfigure id=\"attachment_13952795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/glastonbury-e1708630821301.png\" alt=\"A dog in a costume stands on a runway.\" width=\"1920\" height=\"1223\">\u003cfigcaption class=\"wp-caption-text\">A dog wearing a wig. And also an outfit Dolly Parton wore when she played the Glastonbury Festival in 2014. Just go with it. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Country music: Live!\u003c/h2>\n\u003cp>Dolly opens the show with an absolutely preposterous rendition of “Puppy Love” that involves her barking and howling while cameras zoom in on the faces of happy dogs sitting in the audience. It might be the most wonderfully surreal television I have ever seen, with \u003cem>Twin Peaks\u003c/em> as the only serious contender.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889581",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A country gentleman named Chris Janson shows up next, singing a song that references river banks, cold beers, trucks and Bass Pro Shops. I have never in my life had a bad time in a Bass Pro Shop, so I feel immediate kinship with Mr. Janson. The spell is broken moments later, however, when he performs “Hound Dog” while a literal Bloodhound wearing a tiny top hat lies behind him on an amp, howling. This is a step too far, even for me. (I think it was the top hat that did it.)\u003c/p>\n\u003cfigure id=\"attachment_13952798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/hound-dog-e1708630968986.png\" alt=\"A man in a cowboy hat and black country shirt sits at a top hat-wearing Blood Hound.\" width=\"1920\" height=\"1125\">\u003cfigcaption class=\"wp-caption-text\">It’s the top hat, right? The top hat is offensive on some level. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carly Pierce, wearing an incomprehensibly constructed dress, shows up for duets of “9 to 5” and “Jolene” with Dolly. This is, of course, a seamless way to introduce a Dollywood reference into the proceedings, as Pierce apparently started performing there at age 16. (\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">It’s not a Dolly Parton TV special if it doesn’t include flagrant Dollywood promotion\u003c/a>!)\u003c/p>\n\u003cp>Joy Oladokun’s straightforward performance of “\u003ca href=\"https://www.youtube.com/watch?v=Ea9_egtJYMg\">If You’ve Got a Problem\u003c/a>” is gorgeous, but Lainey Wilson and Dolly performing “I Will Always Love You” is unequivocally the song of the night. Absolute belter, 10 out of 10. No notes if you ignore the outfits, both of which defy description.\u003c/p>\n\u003ch2>Random celebrities, doing the least\u003c/h2>\n\u003cp>Here are some famous people that show up in pre-recorded-at-home videos to talk about and/or to their dogs: Margaret Cho, Neil Patrick Harris, Drew Barrymore, Kristen Bell and Kristin Chenoweth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922004",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Here are some famous-ish people who show up in the studio to awkwardly introduce a segment, even though \u003cem>Entertainment Tonight\u003c/em>‘s Rachel Smith is doing most of the hosting: Kristin Cavallari, a musical duo named Tigirlily Gold, and Billy Ray Cyrus and his Australian wife. (Who is named Firerose, by the way. FIREROSE.)\u003c/p>\n\u003cp>There is even — and I was thoroughly taken aback when this started — an “In Memoriam” section featuring recently deceased dog-lovers. These include \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">Angus Cloud\u003c/a>, Tony Bennett, Tina Turner, Sinead O’Connor, tWitch (from \u003cem>The Ellen DeGeneres Show\u003c/em>) and many more. This is kind of sweet, but also fairly uncomfortable within the context.\u003c/p>\n\u003ch2>Dogs, doing the most\u003c/h2>\n\u003cp>Dogs that are service dogs. Dogs that are in the military. Dogs that do sports. Movie stunt dogs. Social media dogs. They all get a spotlight of one sort or another during \u003cem>Pet Gala\u003c/em>. At one point, Smith introduces a dog named Noodles like she’s just been asked out by Harry Styles, and I remain thoroughly confused hours after watching.\u003c/p>\n\u003cp>Oh, and Dolly reads a bedtime story to a room full of dogs too, but that’s to be expected, I suppose.\u003c/p>\n\u003cfigure id=\"attachment_13952799\" class=\"wp-caption aligncenter\" style=\"max-width: 2508px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png\" alt=\"A woman in a rocking chair reads from a book. Scattered around her are dogs lying on blankets. A dalmatian approaches her.\" width=\"2508\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png 2508w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1020x600.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-2048x1205.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1920x1130.png 1920w\" sizes=\"(max-width: 2508px) 100vw, 2508px\">\u003cfigcaption class=\"wp-caption-text\">This is one of the more normal things that happens in ‘Dolly Parton’s Pet Gala.’ Just FYI. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takeaways\u003c/h2>\n\u003col>\n\u003cli>That this made it onto network television in 2024 is astounding.\u003c/li>\n\u003cli>Famous people will do literally anything for Dolly Parton.\u003c/li>\n\u003cli>This might be one of the greatest things I have ever seen on TV.\u003c/li>\n\u003c/ol>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>‘Dolly Parton’s Pet Gala’ airs on CBS and streams on Paramount+ on Wednesday, Feb. 21 at 11 p.m. On demand viewing will also be available for Paramount+ Essential and Paramount+ with Showtime subscribers on Feb. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952420/dolly-doggy-parton-pet-gala-review-cbs-tv-special-puppy-love",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_9124",
"arts_8481",
"arts_7534",
"arts_8819",
"arts_4088",
"arts_769",
"arts_5422",
"arts_585",
"arts_2792"
],
"featImg": "arts_13952650",
"label": "arts_140"
},
"arts_13952563": {
"type": "posts",
"id": "arts_13952563",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952563",
"score": null,
"sort": [
1708452188000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708452188,
"format": "standard",
"title": "‘Peter Pan’ Is Flying to San Jose After Some Much-Needed Changes",
"headTitle": "‘Peter Pan’ Is Flying to San Jose After Some Much-Needed Changes | KQED",
"content": "\u003cp>A new, inclusive stage production of \u003ca href=\"https://peterpanontour.com/tour-dates/\">\u003cem>Peter Pan\u003c/em> is heading to San Jose\u003c/a> this June, telling the classic tale of a boy who refuses to grow up — but without references that, ironically, have aged poorly.\u003c/p>\n\u003cp>Gone are elements harmful to Native people, in are a few new songs and the setting of Victorian England has been scrapped in favor of modern America with a multicultural cast.\u003c/p>\n\u003cp>[aside postid='arts_13951752']“Part of the why I wanted to do this is that it will be kids’ first experience in the theater, and I want them not only to fall in love with \u003cem>Peter Pan\u003c/em>, but to fall in love with the theater and to come back,” says director Lonny Price.\u003c/p>\n\u003cp>The show is based on the 1954 musical version — originally starring Broadway legend Mary Martin — with a score by Morris Charlap, additional lyrics by Betty Comden and Adolph Green and additional music by Jule Styne.\u003c/p>\n\u003cp>Playwright Larissa FastHorse, who made history on Broadway in 2023 with her satirical comedy \u003cem>The Thanksgiving Play\u003c/em>, was tapped to rework the story. She says she found the character of Peter Pan complex, the pirates funny, the music enchanting but the depictions of Indigenous people and women appalling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the previous version, there were references to “redskins” throughout, a dance number with cringy gibberish for lyrics called “Ugg-A-Wugg” and Tiger Lily was described as fending off randy braves “with a hatchet.”\u003c/p>\n\u003cfigure id=\"attachment_13952567\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.18-AM-e1708450537476.png\" alt=\"A stage set featuring pirates with their swords raised at a young person in a green gender neutral outfit.\" width=\"1920\" height=\"1269\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Peter Pan.’ \u003ccite>(Matthew Murphy/ Bond Theatrical via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My goal for doing it was to make it not cause harm,” FastHorse says. “Because the music is so beautiful. The story is complicated and beautiful. It makes you laugh, it makes you cry, it does all those things and has so much magic.”\u003c/p>\n\u003cp>The tour kicks off in Maryland this week and travels to North Carolina, Ohio, Illinois, Washington, D.C., South Carolina, Florida, Arizona, Nevada, California, Missouri, Texas and Georgia.\u003c/p>\n\u003cp>“Ugg-A-Wugg” has been cut, replaced by the melody from a tune from the little-known 1961 Comden-Green-Styne musical \u003cem>Subways Are for Sleeping\u003c/em>, married with new lyrics from Amanda Green, Adolph Green’s Tony Award-nominated daughter.\u003c/p>\n\u003cp>Price also found in the original creators’ papers a “haunting, beautiful” song called “I Went Home,” which tells of a time when Peter returned home and found his window barred and another kid sleeping in his bed. Martin had asked for it to be cut before the premiere, fearing it was too sad. Price put it back in, arguing audiences are more mature these days.\u003c/p>\n\u003cp>[aside postid='arts_13951888']“I think kids can be a little upset now,” he says. “I don’t think it’s upsetting. I think it’s moving. I think it’s just a very moving piece. I don’t think anyone’s heard that song since 1954.” There’s also a reprise of “I Won’t Grow Up” for the second act curtain raiser called “We Hate Those Kinds,” sung by the pirates with lyrics by Green.\u003c/p>\n\u003cp>FastHorse widened the concept of Native in the musical’s Neverland to encompass several members of under-pressure Indigenous cultures from all over the globe — Africa, Japan and Eastern Europe, among them — who have retreated to Neverland to preserve their culture until they can find a way back. Price hails it as an “elegant solution,” adding FastHorse “ was just the perfect writer for us.”\u003c/p>\n\u003cp>FastHorse is the first ever Indigenous artist to revise the story, and she has done more than correct the perceptions of Native culture. She’s also deepened the women characters: Tiger Lily and Wendy both sing now, they both dance, they both fight and they speak to each other without Peter.\u003c/p>\n\u003cp>FastHorse and Price’s version takes place in a modern day, middle class United States not Victorian England. The cast includes children of various races and ethnicities.\u003c/p>\n\u003cp>“I want every child in this nation to look out their window of the national tour, to look out the window and believe Peter can fly by their window,” says FastHorse. “Our cast looks like America.”\u003c/p>\n\u003cfigure id=\"attachment_13952569\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM.png\" alt=\"A stage set with three children wearing pajamas on stage and one child flying over their heads.\" width=\"1954\" height=\"1258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-1020x657.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-1536x989.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-1920x1236.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Nolan Almeida as Peter Pan, Micah Turner Lee as John, Reed Epley as Michael and Hawa Kamara as Wendy. \u003ccite>( Matthew Murphy/ Bond Theatrical via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Price stresses that despite the changes, the fabric of the show has been maintained, especially the beautiful language lifted from James M. Barrie’s classic tale, like the notion that the birth of fairies comes from a child’s first laugh.\u003c/p>\n\u003cp>[aside postid='pop_15140']\u003cem>Peter Pan\u003c/em> is a hardy vehicle in any case, with five major Broadway revivals, countless tours, NBC’s 2015 \u003cem>Peter Pan Live\u003c/em> with Allison Williams, the animated series \u003cem>Jake and the Never Land Pirates\u003c/em>, the Broadway shows \u003cem>Peter Pan Goes Wrong\u003c/em> and \u003cem>Peter and the Starcatcher\u003c/em> and 2023’s live-action \u003cem>Peter Pan & Wendy\u003c/em>, which added girls to the Lost Boys and featured a Black actor as Tinker Bell.\u003c/p>\n\u003cp>Price says the appeal of Barrie’s work is intergenerational, grounded in notions of freedom, motherhood, innocence and a very human ambivalence about growing up.\u003c/p>\n\u003cp>“Kids are afraid of growing up. Some of them want to grow up really fast. I think all adults have this conflicted relationship with growing up. So I think it’s a meditation on that and mortality as well,” says Price. “If you look at all of the themes of it, they’re very primal to us all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Peter Pan’ will be at the San Jose Center for the Performing Arts from June 25 through June 30, 2024. \u003ca href=\"https://peterpanontour.com/tour-dates/\">All tour dates here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 994,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1708464246,
"excerpt": "Gone are elements harmful to Native people, and the play has a new setting — contemporary America with a multicultural cast.",
"headData": {
"twImgId": "",
"twTitle": "‘Peter Pan’ Is Flying to San Jose After Some Much Needed Changes",
"socialTitle": "‘Peter Pan’ Has Been Updated By Playwright Larissa FastHorse %%page%% %%sep%% KQED",
"ogTitle": "‘Peter Pan’ Is Flying to San Jose After Some Much Needed Changes",
"ogImgId": "",
"twDescription": "",
"description": "Gone are elements harmful to Native people, and the play has a new setting — contemporary America with a multicultural cast.",
"title": "‘Peter Pan’ Has Been Updated By Playwright Larissa FastHorse | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Peter Pan’ Is Flying to San Jose After Some Much-Needed Changes",
"datePublished": "2024-02-20T10:03:08-08:00",
"dateModified": "2024-02-20T13:24:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "peter-pan-stage-production-2024-tour-larissa-fasthorse",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952563/peter-pan-stage-production-2024-tour-larissa-fasthorse",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new, inclusive stage production of \u003ca href=\"https://peterpanontour.com/tour-dates/\">\u003cem>Peter Pan\u003c/em> is heading to San Jose\u003c/a> this June, telling the classic tale of a boy who refuses to grow up — but without references that, ironically, have aged poorly.\u003c/p>\n\u003cp>Gone are elements harmful to Native people, in are a few new songs and the setting of Victorian England has been scrapped in favor of modern America with a multicultural cast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951752",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Part of the why I wanted to do this is that it will be kids’ first experience in the theater, and I want them not only to fall in love with \u003cem>Peter Pan\u003c/em>, but to fall in love with the theater and to come back,” says director Lonny Price.\u003c/p>\n\u003cp>The show is based on the 1954 musical version — originally starring Broadway legend Mary Martin — with a score by Morris Charlap, additional lyrics by Betty Comden and Adolph Green and additional music by Jule Styne.\u003c/p>\n\u003cp>Playwright Larissa FastHorse, who made history on Broadway in 2023 with her satirical comedy \u003cem>The Thanksgiving Play\u003c/em>, was tapped to rework the story. She says she found the character of Peter Pan complex, the pirates funny, the music enchanting but the depictions of Indigenous people and women appalling.\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 previous version, there were references to “redskins” throughout, a dance number with cringy gibberish for lyrics called “Ugg-A-Wugg” and Tiger Lily was described as fending off randy braves “with a hatchet.”\u003c/p>\n\u003cfigure id=\"attachment_13952567\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.26.18-AM-e1708450537476.png\" alt=\"A stage set featuring pirates with their swords raised at a young person in a green gender neutral outfit.\" width=\"1920\" height=\"1269\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Peter Pan.’ \u003ccite>(Matthew Murphy/ Bond Theatrical via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My goal for doing it was to make it not cause harm,” FastHorse says. “Because the music is so beautiful. The story is complicated and beautiful. It makes you laugh, it makes you cry, it does all those things and has so much magic.”\u003c/p>\n\u003cp>The tour kicks off in Maryland this week and travels to North Carolina, Ohio, Illinois, Washington, D.C., South Carolina, Florida, Arizona, Nevada, California, Missouri, Texas and Georgia.\u003c/p>\n\u003cp>“Ugg-A-Wugg” has been cut, replaced by the melody from a tune from the little-known 1961 Comden-Green-Styne musical \u003cem>Subways Are for Sleeping\u003c/em>, married with new lyrics from Amanda Green, Adolph Green’s Tony Award-nominated daughter.\u003c/p>\n\u003cp>Price also found in the original creators’ papers a “haunting, beautiful” song called “I Went Home,” which tells of a time when Peter returned home and found his window barred and another kid sleeping in his bed. Martin had asked for it to be cut before the premiere, fearing it was too sad. Price put it back in, arguing audiences are more mature these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951888",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I think kids can be a little upset now,” he says. “I don’t think it’s upsetting. I think it’s moving. I think it’s just a very moving piece. I don’t think anyone’s heard that song since 1954.” There’s also a reprise of “I Won’t Grow Up” for the second act curtain raiser called “We Hate Those Kinds,” sung by the pirates with lyrics by Green.\u003c/p>\n\u003cp>FastHorse widened the concept of Native in the musical’s Neverland to encompass several members of under-pressure Indigenous cultures from all over the globe — Africa, Japan and Eastern Europe, among them — who have retreated to Neverland to preserve their culture until they can find a way back. Price hails it as an “elegant solution,” adding FastHorse “ was just the perfect writer for us.”\u003c/p>\n\u003cp>FastHorse is the first ever Indigenous artist to revise the story, and she has done more than correct the perceptions of Native culture. She’s also deepened the women characters: Tiger Lily and Wendy both sing now, they both dance, they both fight and they speak to each other without Peter.\u003c/p>\n\u003cp>FastHorse and Price’s version takes place in a modern day, middle class United States not Victorian England. The cast includes children of various races and ethnicities.\u003c/p>\n\u003cp>“I want every child in this nation to look out their window of the national tour, to look out the window and believe Peter can fly by their window,” says FastHorse. “Our cast looks like America.”\u003c/p>\n\u003cfigure id=\"attachment_13952569\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM.png\" alt=\"A stage set with three children wearing pajamas on stage and one child flying over their heads.\" width=\"1954\" height=\"1258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-1020x657.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-1536x989.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-9.27.31-AM-1920x1236.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Nolan Almeida as Peter Pan, Micah Turner Lee as John, Reed Epley as Michael and Hawa Kamara as Wendy. \u003ccite>( Matthew Murphy/ Bond Theatrical via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Price stresses that despite the changes, the fabric of the show has been maintained, especially the beautiful language lifted from James M. Barrie’s classic tale, like the notion that the birth of fairies comes from a child’s first laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_15140",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Peter Pan\u003c/em> is a hardy vehicle in any case, with five major Broadway revivals, countless tours, NBC’s 2015 \u003cem>Peter Pan Live\u003c/em> with Allison Williams, the animated series \u003cem>Jake and the Never Land Pirates\u003c/em>, the Broadway shows \u003cem>Peter Pan Goes Wrong\u003c/em> and \u003cem>Peter and the Starcatcher\u003c/em> and 2023’s live-action \u003cem>Peter Pan & Wendy\u003c/em>, which added girls to the Lost Boys and featured a Black actor as Tinker Bell.\u003c/p>\n\u003cp>Price says the appeal of Barrie’s work is intergenerational, grounded in notions of freedom, motherhood, innocence and a very human ambivalence about growing up.\u003c/p>\n\u003cp>“Kids are afraid of growing up. Some of them want to grow up really fast. I think all adults have this conflicted relationship with growing up. So I think it’s a meditation on that and mortality as well,” says Price. “If you look at all of the themes of it, they’re very primal to us all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Peter Pan’ will be at the San Jose Center for the Performing Arts from June 25 through June 30, 2024. \u003ca href=\"https://peterpanontour.com/tour-dates/\">All tour dates here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952563/peter-pan-stage-production-2024-tour-larissa-fasthorse",
"authors": [
"byline_arts_13952563"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_967"
],
"tags": [
"arts_585"
],
"featImg": "arts_13952568",
"label": "arts_140"
},
"arts_13952549": {
"type": "posts",
"id": "arts_13952549",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952549",
"score": null,
"sort": [
1708447549000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708447549,
"format": "standard",
"title": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"headTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’ | KQED",
"content": "\u003cp>The only reasons people watch dating shows, really, are sex and mess.\u003c/p>\n\u003cp>Dating shows have been around for ages, swelling* when there’s a big success like \u003cem>The Bachelor \u003c/em>or \u003cem>Joe Millionaire \u003c/em>or \u003cem>Love Is Blind\u003c/em>. But they take all kinds of different shapes — it’s a test to see if you’ll cheat, or there’s a chance the person is ugly, or you have to get married, or whatever. They certainly have wildly varying levels of sex. \u003cem>The Bachelor \u003c/em>takes a kind of “and then the door closes and the music plays and you definitely do not even hear anybody making any noises,” while some other shows will give you considerably more than that.\u003c/p>\n\u003cp>[aside postid='arts_13952409']They all have mess, too. Not just mess, but messy messy mess. As I was telling a friend this week, Peacock’s \u003cem>Couple to Throuple \u003c/em>is really just more mess (and it’s on the high end for the amount of sex you’ll see), and in that sense it’s very conventional. But at least it’s a different \u003cem>kind\u003c/em> of mess than most other shows offer, particularly on mainstream outlets.\u003c/p>\n\u003cp>The setup is this: Four couples arrive at a resort. A bunch of single people also show up. Each couple is interested in potentially exploring a throuple, which (for the uninitiated) is an awkward portman-ménage-à-teau for an ongoing relationship among three people. Three of the couples include a man and a woman: Brittne and Sean, Dylan and Lauren, and Wilder and Corey. The other is two men, Rehman and Ashmal. All of the couples have some experience with experimentation with other people, but not in this kind of throuple arrangement. The show brings in some single people, all of whom also have some relevant experience, and each couple gets to pick one to try out as a possible third for their relationship. (If you think this sounds kind of strange and possibly a little unfair to the single person, that does come up.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1_YG-EKIQU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I want to make clear that there is nothing inherently salacious about polyamory. There are plenty of people who make it work. So when I say the show is joyfully trashy, that’s because of the show, not the relationship structure. After all, you can make joyfully trashy shows about couples, too. There’s also nothing particularly new about the throuple life \u003cem>if \u003c/em>you happen to know people who do it or have tried it, which an increasing number of us do. But at least it’s new mess. Different mess. Mess that makes you go, “Oh, yikes, that’s tricky.”\u003c/p>\n\u003cp>The first thing that experienced polyamorous people will tell you, I have learned, is that it requires a lot of work and communication. There are people who go into it — or who just think about it — imagining, “Whee, this must be a no-strings-attached sex festival!” But my first thought after watching two episodes was, “This seems like a relationship structure perfect for people who like to attend a lot of meetings.”\u003c/p>\n\u003cp>[aside postid='arts_13951751']Even on dating shows, I have rarely seen this much \u003cem>talking about the relationship\u003c/em>. Does the third like both of the people in the couple equally? Do both people in the couple like the third equally? Do these people connect physically but those people emotionally? What are the reasonable expectations of the potential third?\u003c/p>\n\u003cp>Familiar dynamics take on new specifics, as when the couples do an exercise with their potential thirds where one partner engages in sexier and sexier contact with the third, and the other sees how long they’re comfortable before they say the safe word to put a stop to it. In one couple, an argument breaks out in which the partner who was watching later gets mad and basically says, “The question isn’t why I didn’t use the safe word if I was getting upset, the question is why \u003cem>you \u003c/em>didn’t use the safe word when you should have \u003cem>known\u003c/em> I was getting upset.” You gotta think that level of expected mind-reading is going to make a throuple arrangement very, very difficult — as it would a couple arrangement.\u003c/p>\n\u003cfigure id=\"attachment_13952554\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png\" alt=\"Two men stand in a tropical looking resort, both wearing white shirts and pants, both looking serious.\" width=\"1200\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-800x492.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-768x472.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashmal, left, and Rehman in the ‘Boundaries’ episode of ‘Couple to Throuple.’ \u003ccite>(Paul Castillero/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some intriguing power shifts where at first, the thirds seem to be trying to put their best feet forward to be “chosen” by the couples, and then trying to impress them, but then before you know it, some of the thirds are sort of looking around saying, “Uh, it was nice knowing you guys.” Sometimes you’re the windshield, sometimes you’re the bug; sometimes you’re the pursuer, and sometimes you’re the pursued.\u003c/p>\n\u003cp>It’s a mess. I will watch it all.\u003c/p>\n\u003cp>*I apologize for using the word “swelling” in a discussion of dating shows.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two%27s+company%2C+three%27s+allowed+in+the+dating+show+%27Couple+to+Throuple%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 930,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1708447836,
"excerpt": "Based on this show, polyamory seems like a relationship structure perfect for people who like to attend a lot of meetings... ",
"headData": {
"twImgId": "",
"twTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"socialTitle": "Peacock’s New Dating Show ‘Couple to Throuple’ is Good-Messy %%page%% %%sep%% KQED",
"ogTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"ogImgId": "",
"twDescription": "",
"description": "Based on this show, polyamory seems like a relationship structure perfect for people who like to attend a lot of meetings... ",
"title": "Peacock’s New Dating Show ‘Couple to Throuple’ is Good-Messy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"datePublished": "2024-02-20T08:45:49-08:00",
"dateModified": "2024-02-20T08:50:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "couple-to-throuple-review-peacock-polyamory-dating-reality-show",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1232033944&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sat, 17 Feb 2024 07:00:46 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sat, 17 Feb 2024 07:00:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/17/1232033944/twos-company-threes-allowed-in-the-dating-show-couple-to-throuple?ft=nprml&f=1232033944",
"nprImageAgency": "Peacock",
"nprStoryId": "1232033944",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "Paul Castillero",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 17 Feb 2024 07:00:00 -0500",
"path": "/arts/13952549/couple-to-throuple-review-peacock-polyamory-dating-reality-show",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only reasons people watch dating shows, really, are sex and mess.\u003c/p>\n\u003cp>Dating shows have been around for ages, swelling* when there’s a big success like \u003cem>The Bachelor \u003c/em>or \u003cem>Joe Millionaire \u003c/em>or \u003cem>Love Is Blind\u003c/em>. But they take all kinds of different shapes — it’s a test to see if you’ll cheat, or there’s a chance the person is ugly, or you have to get married, or whatever. They certainly have wildly varying levels of sex. \u003cem>The Bachelor \u003c/em>takes a kind of “and then the door closes and the music plays and you definitely do not even hear anybody making any noises,” while some other shows will give you considerably more than that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952409",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>They all have mess, too. Not just mess, but messy messy mess. As I was telling a friend this week, Peacock’s \u003cem>Couple to Throuple \u003c/em>is really just more mess (and it’s on the high end for the amount of sex you’ll see), and in that sense it’s very conventional. But at least it’s a different \u003cem>kind\u003c/em> of mess than most other shows offer, particularly on mainstream outlets.\u003c/p>\n\u003cp>The setup is this: Four couples arrive at a resort. A bunch of single people also show up. Each couple is interested in potentially exploring a throuple, which (for the uninitiated) is an awkward portman-ménage-à-teau for an ongoing relationship among three people. Three of the couples include a man and a woman: Brittne and Sean, Dylan and Lauren, and Wilder and Corey. The other is two men, Rehman and Ashmal. All of the couples have some experience with experimentation with other people, but not in this kind of throuple arrangement. The show brings in some single people, all of whom also have some relevant experience, and each couple gets to pick one to try out as a possible third for their relationship. (If you think this sounds kind of strange and possibly a little unfair to the single person, that does come up.)\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/C1_YG-EKIQU'\n title='//www.youtube.com/embed/C1_YG-EKIQU'\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>I want to make clear that there is nothing inherently salacious about polyamory. There are plenty of people who make it work. So when I say the show is joyfully trashy, that’s because of the show, not the relationship structure. After all, you can make joyfully trashy shows about couples, too. There’s also nothing particularly new about the throuple life \u003cem>if \u003c/em>you happen to know people who do it or have tried it, which an increasing number of us do. But at least it’s new mess. Different mess. Mess that makes you go, “Oh, yikes, that’s tricky.”\u003c/p>\n\u003cp>The first thing that experienced polyamorous people will tell you, I have learned, is that it requires a lot of work and communication. There are people who go into it — or who just think about it — imagining, “Whee, this must be a no-strings-attached sex festival!” But my first thought after watching two episodes was, “This seems like a relationship structure perfect for people who like to attend a lot of meetings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951751",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Even on dating shows, I have rarely seen this much \u003cem>talking about the relationship\u003c/em>. Does the third like both of the people in the couple equally? Do both people in the couple like the third equally? Do these people connect physically but those people emotionally? What are the reasonable expectations of the potential third?\u003c/p>\n\u003cp>Familiar dynamics take on new specifics, as when the couples do an exercise with their potential thirds where one partner engages in sexier and sexier contact with the third, and the other sees how long they’re comfortable before they say the safe word to put a stop to it. In one couple, an argument breaks out in which the partner who was watching later gets mad and basically says, “The question isn’t why I didn’t use the safe word if I was getting upset, the question is why \u003cem>you \u003c/em>didn’t use the safe word when you should have \u003cem>known\u003c/em> I was getting upset.” You gotta think that level of expected mind-reading is going to make a throuple arrangement very, very difficult — as it would a couple arrangement.\u003c/p>\n\u003cfigure id=\"attachment_13952554\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png\" alt=\"Two men stand in a tropical looking resort, both wearing white shirts and pants, both looking serious.\" width=\"1200\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-800x492.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-768x472.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashmal, left, and Rehman in the ‘Boundaries’ episode of ‘Couple to Throuple.’ \u003ccite>(Paul Castillero/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some intriguing power shifts where at first, the thirds seem to be trying to put their best feet forward to be “chosen” by the couples, and then trying to impress them, but then before you know it, some of the thirds are sort of looking around saying, “Uh, it was nice knowing you guys.” Sometimes you’re the windshield, sometimes you’re the bug; sometimes you’re the pursuer, and sometimes you’re the pursued.\u003c/p>\n\u003cp>It’s a mess. I will watch it all.\u003c/p>\n\u003cp>*I apologize for using the word “swelling” in a discussion of dating shows.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two%27s+company%2C+three%27s+allowed+in+the+dating+show+%27Couple+to+Throuple%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952549/couple-to-throuple-review-peacock-polyamory-dating-reality-show",
"authors": [
"byline_arts_13952549"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_21951",
"arts_21794",
"arts_21952",
"arts_1386",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952550",
"label": "arts_140"
},
"arts_13952488": {
"type": "posts",
"id": "arts_13952488",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952488",
"score": null,
"sort": [
1708111847000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708111847,
"format": "standard",
"title": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’",
"headTitle": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’ | KQED",
"content": "\u003cp>“Why are you teaching us to be so rude?” the elderly village woman asks a Bhutanese election official in \u003cem>The Monk and the Gun\u003c/em>.\u003c/p>\n\u003cp>It’s a question both poignant and biting, because the “teaching” this woman is resisting is something much of the outside world considers a basic human right: the right to vote.\u003c/p>\n\u003cp>[aside postid='arts_13952306']For a piercing refresher lesson on democracy, one wouldn’t necessarily think of rural Bhutan as the first place to look. For one thing, democratic elections only came to the tiny, long-isolated Himalayan kingdom in April 2007, when the country held its first mock vote, leading to the real thing late that year and then the first constitution in 2008.\u003c/p>\n\u003cp>Writer-director Pawo Choyning Dorji, whose debut feature, \u003cem>Lunana: A Yak in the Classroom\u003c/em>, went all the way to an Oscar nomination, centers his delightful, moving and clever new satire on a moment in 2006 when officials first fan out into the countryside to introduce this concept called “election.” TV and internet access are less than a decade old.\u003c/p>\n\u003cp>It does not go smoothly. “Is that a new pig disease?” asks one villager. Others arrive to register, only to discover they need to know their birthdate. Some do not. They’re told they need to leave and go find out. But really, many don’t see the point. They have a king. They like him. Why go to all this trouble?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>The Monk and the Gun\u003c/em>, as you may have surmised, is not just about democracy. It’s also about guns, and their role in society, a particularly fertile theme for Dorji’s brand of wry satire and pointed comparisons.\u003c/p>\n\u003cp>We begin with a young monk, Tashi, attendant to a lama, or spiritual leader, traversing a peaceful field to a mountain village, Ura. He’s on his way to hear an unusual request: The lama needs a gun. Or two. Before the full moon comes in a few days. “Things need to be made right,” he says, cryptically.\u003c/p>\n\u003cp>What could the lama mean? Guns are not a normal part of this society. If there’s a gun lying around, it’s a big deal. Which leads us to Ron Coleman, an American (Harry Einhorn), and his visit to Bhutan.\u003c/p>\n\u003cp>“Tell people you’re here to see Buddhist temples,” Ron’s host and fixer Benji (Tandin Sonam) tells him when he arrives. But Ron is there to procure, for a collector, a prized 19th-century American gun that somehow resides with a Bhutanese farmer.\u003c/p>\n\u003cp>[aside postid='arts_13951641']Dorji toggles between these two storylines: politics and guns, with the clock ticking to both the full moon and the mock election. It’s a tumultuous time, with news reports suggesting the transition to democracy is unpopular. As one man says, “What’s the use? We already have His Majesty.” Another wonders why they’d want to be like countries where politicians throw chairs at each other. The chief organizer has to remind people — including a mother whose daughter is being bullied at school — that in some countries, people die fighting for the right to vote.\u003c/p>\n\u003cp>Back to gun dealer Ron (his name is a little nod to cinema buffs who may recall the actor Ron Colman in 1937’s \u003cem>Lost Horizon\u003c/em>), who’s so eager to acquire the historic weapon, he offers the owner $75,000. That is not acceptable to the farmer — it’s too much! So a deal is struck for much less. But while Ron is off collecting the cash, the monk shows up, seeking a gun for his lama.\u003c/p>\n\u003cp>Who’ll get the gun? The rest of the plot is best left unspoiled, but you can be sure Dorji finds a way to tie his threads together in a way both comic and biting, both entertaining and provocative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NF0JChMz8Uc\u003c/p>\n\u003cp>A perfect example is that scene where election organizers are trying to educate the masses. With villagers gathered, they explain that different colors stand for different parties. But when they try to generate some obligatory back-and-forth — maybe just a little yelling — the effort falls flat. “Show some passion! You’re supposed to despise each other!” complains one official.\u003c/p>\n\u003cp>Also funny but queasy-making, too, is the way Ron is described by his Bhutanese cohort in an effort to gain respect for his knowledge of guns: “Mr. Ron is an expert. In his country there are more guns than people! “\u003c/p>\n\u003cp>[aside postid='arts_13951896']The casting of the film is fascinating in itself. Most of the cast (including Einhorn, an academic) are making acting debuts here. One, Tandin Wangchuk as Tashi, is a Bhutanese alt-rock star. The villagers in Ura are mostly actual villagers of Ura. The lama is indeed the actual (and only) village lama, Kelsang Choejay.\u003c/p>\n\u003cp>And it is he who keeps us all wondering: What the heck does he want with these guns? Dorji holds the suspense and finds a way to surprise us in a deeply satisfying way.\u003c/p>\n\u003cp>The director has said he simply hopes his home country — population about 790,000, known for its beauty and its official imperative of Gross National Happiness — has something to teach the rest of the world. “It’s not who we are,” that elderly woman says about the rudeness. It’s clear Dorji is hoping we’ll be looking at her, then ourselves, and wondering just who we are and want to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Monk and the Gun’ was released nationwide on Feb. 9, 2024. It is currently playing at \u003ca href=\"https://www.amctheatres.com/movies/the-monk-and-the-gun-75465\">San Jose’s AMC Saratoga 14\u003c/a> theater.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 989,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1708111847,
"excerpt": "Comic, biting, entertaining and provocative, Pawo Choyning Dorji’s new film has much to teach Americans about ourselves. ",
"headData": {
"twImgId": "",
"twTitle": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’",
"socialTitle": "‘The Monk and the Gun’ Review: Comic, Biting and Provocative%%page%% %%sep%% KQED",
"ogTitle": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’",
"ogImgId": "",
"twDescription": "",
"description": "Comic, biting, entertaining and provocative, Pawo Choyning Dorji’s new film has much to teach Americans about ourselves. ",
"title": "‘The Monk and the Gun’ Review: Comic, Biting and Provocative | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’",
"datePublished": "2024-02-16T11:30:47-08:00",
"dateModified": "2024-02-16T11:30:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "monk-and-the-gun-movie-review-bhutan-democracy-pawo-choyning-dorji",
"status": "publish",
"templateType": "standard",
"nprByline": "Jocelyn Noveck, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952488/monk-and-the-gun-movie-review-bhutan-democracy-pawo-choyning-dorji",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Why are you teaching us to be so rude?” the elderly village woman asks a Bhutanese election official in \u003cem>The Monk and the Gun\u003c/em>.\u003c/p>\n\u003cp>It’s a question both poignant and biting, because the “teaching” this woman is resisting is something much of the outside world considers a basic human right: the right to vote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952306",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For a piercing refresher lesson on democracy, one wouldn’t necessarily think of rural Bhutan as the first place to look. For one thing, democratic elections only came to the tiny, long-isolated Himalayan kingdom in April 2007, when the country held its first mock vote, leading to the real thing late that year and then the first constitution in 2008.\u003c/p>\n\u003cp>Writer-director Pawo Choyning Dorji, whose debut feature, \u003cem>Lunana: A Yak in the Classroom\u003c/em>, went all the way to an Oscar nomination, centers his delightful, moving and clever new satire on a moment in 2006 when officials first fan out into the countryside to introduce this concept called “election.” TV and internet access are less than a decade old.\u003c/p>\n\u003cp>It does not go smoothly. “Is that a new pig disease?” asks one villager. Others arrive to register, only to discover they need to know their birthdate. Some do not. They’re told they need to leave and go find out. But really, many don’t see the point. They have a king. They like him. Why go to all this trouble?\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 \u003cem>The Monk and the Gun\u003c/em>, as you may have surmised, is not just about democracy. It’s also about guns, and their role in society, a particularly fertile theme for Dorji’s brand of wry satire and pointed comparisons.\u003c/p>\n\u003cp>We begin with a young monk, Tashi, attendant to a lama, or spiritual leader, traversing a peaceful field to a mountain village, Ura. He’s on his way to hear an unusual request: The lama needs a gun. Or two. Before the full moon comes in a few days. “Things need to be made right,” he says, cryptically.\u003c/p>\n\u003cp>What could the lama mean? Guns are not a normal part of this society. If there’s a gun lying around, it’s a big deal. Which leads us to Ron Coleman, an American (Harry Einhorn), and his visit to Bhutan.\u003c/p>\n\u003cp>“Tell people you’re here to see Buddhist temples,” Ron’s host and fixer Benji (Tandin Sonam) tells him when he arrives. But Ron is there to procure, for a collector, a prized 19th-century American gun that somehow resides with a Bhutanese farmer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951641",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Dorji toggles between these two storylines: politics and guns, with the clock ticking to both the full moon and the mock election. It’s a tumultuous time, with news reports suggesting the transition to democracy is unpopular. As one man says, “What’s the use? We already have His Majesty.” Another wonders why they’d want to be like countries where politicians throw chairs at each other. The chief organizer has to remind people — including a mother whose daughter is being bullied at school — that in some countries, people die fighting for the right to vote.\u003c/p>\n\u003cp>Back to gun dealer Ron (his name is a little nod to cinema buffs who may recall the actor Ron Colman in 1937’s \u003cem>Lost Horizon\u003c/em>), who’s so eager to acquire the historic weapon, he offers the owner $75,000. That is not acceptable to the farmer — it’s too much! So a deal is struck for much less. But while Ron is off collecting the cash, the monk shows up, seeking a gun for his lama.\u003c/p>\n\u003cp>Who’ll get the gun? The rest of the plot is best left unspoiled, but you can be sure Dorji finds a way to tie his threads together in a way both comic and biting, both entertaining and provocative.\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/NF0JChMz8Uc'\n title='//www.youtube.com/embed/NF0JChMz8Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A perfect example is that scene where election organizers are trying to educate the masses. With villagers gathered, they explain that different colors stand for different parties. But when they try to generate some obligatory back-and-forth — maybe just a little yelling — the effort falls flat. “Show some passion! You’re supposed to despise each other!” complains one official.\u003c/p>\n\u003cp>Also funny but queasy-making, too, is the way Ron is described by his Bhutanese cohort in an effort to gain respect for his knowledge of guns: “Mr. Ron is an expert. In his country there are more guns than people! “\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951896",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The casting of the film is fascinating in itself. Most of the cast (including Einhorn, an academic) are making acting debuts here. One, Tandin Wangchuk as Tashi, is a Bhutanese alt-rock star. The villagers in Ura are mostly actual villagers of Ura. The lama is indeed the actual (and only) village lama, Kelsang Choejay.\u003c/p>\n\u003cp>And it is he who keeps us all wondering: What the heck does he want with these guns? Dorji holds the suspense and finds a way to surprise us in a deeply satisfying way.\u003c/p>\n\u003cp>The director has said he simply hopes his home country — population about 790,000, known for its beauty and its official imperative of Gross National Happiness — has something to teach the rest of the world. “It’s not who we are,” that elderly woman says about the rudeness. It’s clear Dorji is hoping we’ll be looking at her, then ourselves, and wondering just who we are and want to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Monk and the Gun’ was released nationwide on Feb. 9, 2024. It is currently playing at \u003ca href=\"https://www.amctheatres.com/movies/the-monk-and-the-gun-75465\">San Jose’s AMC Saratoga 14\u003c/a> theater.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952488/monk-and-the-gun-movie-review-bhutan-democracy-pawo-choyning-dorji",
"authors": [
"byline_arts_13952488"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_21949",
"arts_4949",
"arts_585"
],
"featImg": "arts_13952495",
"label": "arts_140"
},
"arts_13952409": {
"type": "posts",
"id": "arts_13952409",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952409",
"score": null,
"sort": [
1708032232000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708032232,
"format": "standard",
"title": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"headTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’ | KQED",
"content": "\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>[aside postid='pop_21655']All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Osu2N9gysYk&t=38s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>[aside postid='pop_98212']Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>[aside postid='arts_13952322']This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1007,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1708032232,
"excerpt": "‘This is Me… Now: A Love Story’ is a curious 65-minute creation to accompany J. Lo’s new album.",
"headData": {
"twImgId": "",
"twTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"socialTitle": "Jennifer Lopez’s New Self-Financed Film Is Bonkers %%page%% %%sep%% KQED",
"ogTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"ogImgId": "",
"twDescription": "",
"description": "‘This is Me… Now: A Love Story’ is a curious 65-minute creation to accompany J. Lo’s new album.",
"title": "Jennifer Lopez’s New Self-Financed Film Is Bonkers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"datePublished": "2024-02-15T13:23:52-08:00",
"dateModified": "2024-02-15T13:23:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "j-lo-this-is-me-now-album-short-film-review-weird",
"status": "publish",
"templateType": "standard",
"nprByline": "Jocelyn Noveck, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952409/j-lo-this-is-me-now-album-short-film-review-weird",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_21655",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Osu2N9gysYk'\n title='//www.youtube.com/embed/Osu2N9gysYk'\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>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_98212",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952322",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952409/j-lo-this-is-me-now-album-short-film-review-weird",
"authors": [
"byline_arts_13952409"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_21948",
"arts_769",
"arts_585"
],
"featImg": "arts_13952412",
"label": "arts_140"
},
"arts_13952306": {
"type": "posts",
"id": "arts_13952306",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952306",
"score": null,
"sort": [
1707947296000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1707947296,
"format": "standard",
"title": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
"headTitle": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers | KQED",
"content": "\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>[aside postid='arts_13951958']Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JlyYimV6Qqw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iCNMXENmOpk\u003c/p>\n\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>[aside postid='arts_13880441']A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>[aside postid='arts_13914487']That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>[aside postid='arts_13951641']“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1301,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1708018968,
"excerpt": "‘Nǎi Nai and Wài Pó,’ Sean Wang’s charming portrait of his grandmas, is nominated for best documentary short.",
"headData": {
"twImgId": "",
"twTitle": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
"socialTitle": "Sean Wang Talks Oscars, Grandmas and ‘Bonkers’ Success %%page%% %%sep%% KQED",
"ogTitle": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
"ogImgId": "",
"twDescription": "",
"description": "‘Nǎi Nai and Wài Pó,’ Sean Wang’s charming portrait of his grandmas, is nominated for best documentary short.",
"title": "Sean Wang Talks Oscars, Grandmas and ‘Bonkers’ Success | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
"datePublished": "2024-02-14T13:48:16-08:00",
"dateModified": "2024-02-15T09:42:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai",
"status": "publish",
"templateType": "standard",
"nprByline": "Jake Coyle, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951958",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\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/JlyYimV6Qqw'\n title='//www.youtube.com/embed/JlyYimV6Qqw'\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>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\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/iCNMXENmOpk'\n title='//www.youtube.com/embed/iCNMXENmOpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13880441",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13914487",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951641",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\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>Says Wang: “They’re offer only.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai",
"authors": [
"byline_arts_13952306"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_3701",
"arts_13672",
"arts_7496",
"arts_1050",
"arts_3698"
],
"featImg": "arts_13952317",
"label": "arts"
},
"arts_13952301": {
"type": "posts",
"id": "arts_13952301",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952301",
"score": null,
"sort": [
1707938152000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1707938152,
"format": "standard",
"title": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"headTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special | KQED",
"content": "\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>[aside postid='arts_13852729']Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go–Gzu_qGg\u003c/p>\n\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>[aside postid='arts_13938421']Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1011,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1707938152,
"excerpt": "The portrait that emerges is of a boy who likes baseball, outer space, James Brown and working with his hands. ",
"headData": {
"twImgId": "",
"twTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"socialTitle": "New ‘Peanuts’ Special Shines a Light on Franklin%%page%% %%sep%% KQED",
"ogTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"ogImgId": "",
"twDescription": "",
"description": "The portrait that emerges is of a boy who likes baseball, outer space, James Brown and working with his hands. ",
"title": "New ‘Peanuts’ Special Shines a Light on Franklin | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"datePublished": "2024-02-14T11:15:52-08:00",
"dateModified": "2024-02-14T11:15:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "franklin-peanuts-special-new-apple-tv-movie",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952301/franklin-peanuts-special-new-apple-tv-movie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852729",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10870599",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\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/Go'\n title='//www.youtube.com/embed/Go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938421",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952301/franklin-peanuts-special-new-apple-tv-movie",
"authors": [
"byline_arts_13952301"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_4262",
"arts_1050",
"arts_585"
],
"featImg": "arts_13952302",
"label": "arts_140"
},
"arts_13952148": {
"type": "posts",
"id": "arts_13952148",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952148",
"score": null,
"sort": [
1707855267000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1707855267,
"format": "standard",
"title": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess",
"headTitle": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess | KQED",
"content": "\u003cp>There is a lot of pretty niche comic book mythology swirling around \u003cem>Madame Web\u003c/em>, the inspiration for the newest of Sony’s \u003cem>Spider-Man\u003c/em> spinoffs.\u003c/p>\n\u003cp>This is a character who goes back to 1980 and whose powers of clairvoyance helped Peter Parker at some point. She’s elderly and blind and sits atop a web throne that keeps her alive. But to be honest, reading about her didn’t help give any more meaning or urgency to the Dakota Johnson movie that’s heading to theaters Wednesday. You’ve been warned.\u003c/p>\n\u003cp>\u003cem>Madame Web\u003c/em> is striving to be a classic superhero setup movie, about how the future Madame Web — now just single gal paramedic Cassie Webb — comes to terms with her newfound power that allows her to see the future. Well, sometimes at least, when it involves a death or something extremely violent.\u003c/p>\n\u003cp>[aside postid='arts_13951751']It’s also about the origins of a few other Spider-Women who are now just a couple of teenage girls, played by 20-somethings Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Celeste O’Connor (Mattie Franklin). Watching the flash-forwards to these three in their Spidey costumes makes you feel like there’s some Marvel TV show you forgot to watch that might make you care more.\u003c/p>\n\u003cp>A scene in which they try to sell the idea that all four women are connected in some cosmic way is so wildly strained (“you live in my building,” “you ran in front of my truck”) and inconsequential, you wonder if whichever screenwriter wrote their run-ins initially was even talking to the one who had to try to sell these coincidences. It’s impossible to know what exactly the four credited screenwriters (and three “story by” credits) are responsible for, but \u003cem>Madame Web\u003c/em> feels like the stitched-together product of a bunch of people who weren’t actually collaborating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s_76M4c4LTo\u003c/p>\n\u003cp>There is also an alarming amount of repetition in just under two hours. Part of this is because Cassie is learning about her powers and sees various incidents play out over and over, which, by the fourth set piece, starts to get very tedious. You forgive it, a little, because Johnson is just always fun to watch and it at least serves a story purpose in theory. But then there’s all these scenes in which the bad guy, Ezekiel Sims (Tahar Rahim), is either seeing his future death at the hands of the Spider-Girls (or whatever we’re calling them) or barking at his associate (Zosia Mamet) to find them with her \u003cem>Dark Knight\u003c/em>-era surveillance setup in his blandly cold penthouse.\u003c/p>\n\u003cp>We know Rahim to be a talented, charismatic actor, but Ezekiel is one of the dullest, most thinly sketched superhero villains in recent memory. The movie doesn’t even withhold his own cosmic connection to Cassie as a reveal — it literally opens with him killing her mother (Kerry Bishé) who is on a spider research trip in the Amazon while very pregnant with her. The venom, and some Amazonian spider-people, save the baby though.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 728,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1707857124,
"excerpt": "Dakota Johnson’s cool-girl deadpan can make almost anything watchable — even this repetitious Marvel origin movie.",
"headData": {
"twImgId": "",
"twTitle": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess",
"socialTitle": "‘Madame Web’ Review: A Messy Marvel Movie Saved By its Stars %%page%% %%sep%% KQED",
"ogTitle": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess",
"ogImgId": "",
"twDescription": "",
"description": "Dakota Johnson’s cool-girl deadpan can make almost anything watchable — even this repetitious Marvel origin movie.",
"title": "‘Madame Web’ Review: A Messy Marvel Movie Saved By its Stars | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess",
"datePublished": "2024-02-13T12:14:27-08:00",
"dateModified": "2024-02-13T12:45:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "madame-web-review-dakota-johnson-sydney-sweeney",
"status": "publish",
"templateType": "standard",
"nprByline": "Lindsey Bahr, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952148/madame-web-review-dakota-johnson-sydney-sweeney",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a lot of pretty niche comic book mythology swirling around \u003cem>Madame Web\u003c/em>, the inspiration for the newest of Sony’s \u003cem>Spider-Man\u003c/em> spinoffs.\u003c/p>\n\u003cp>This is a character who goes back to 1980 and whose powers of clairvoyance helped Peter Parker at some point. She’s elderly and blind and sits atop a web throne that keeps her alive. But to be honest, reading about her didn’t help give any more meaning or urgency to the Dakota Johnson movie that’s heading to theaters Wednesday. You’ve been warned.\u003c/p>\n\u003cp>\u003cem>Madame Web\u003c/em> is striving to be a classic superhero setup movie, about how the future Madame Web — now just single gal paramedic Cassie Webb — comes to terms with her newfound power that allows her to see the future. Well, sometimes at least, when it involves a death or something extremely violent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951751",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s also about the origins of a few other Spider-Women who are now just a couple of teenage girls, played by 20-somethings Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Celeste O’Connor (Mattie Franklin). Watching the flash-forwards to these three in their Spidey costumes makes you feel like there’s some Marvel TV show you forgot to watch that might make you care more.\u003c/p>\n\u003cp>A scene in which they try to sell the idea that all four women are connected in some cosmic way is so wildly strained (“you live in my building,” “you ran in front of my truck”) and inconsequential, you wonder if whichever screenwriter wrote their run-ins initially was even talking to the one who had to try to sell these coincidences. It’s impossible to know what exactly the four credited screenwriters (and three “story by” credits) are responsible for, but \u003cem>Madame Web\u003c/em> feels like the stitched-together product of a bunch of people who weren’t actually collaborating.\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/s_76M4c4LTo'\n title='//www.youtube.com/embed/s_76M4c4LTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is also an alarming amount of repetition in just under two hours. Part of this is because Cassie is learning about her powers and sees various incidents play out over and over, which, by the fourth set piece, starts to get very tedious. You forgive it, a little, because Johnson is just always fun to watch and it at least serves a story purpose in theory. But then there’s all these scenes in which the bad guy, Ezekiel Sims (Tahar Rahim), is either seeing his future death at the hands of the Spider-Girls (or whatever we’re calling them) or barking at his associate (Zosia Mamet) to find them with her \u003cem>Dark Knight\u003c/em>-era surveillance setup in his blandly cold penthouse.\u003c/p>\n\u003cp>We know Rahim to be a talented, charismatic actor, but Ezekiel is one of the dullest, most thinly sketched superhero villains in recent memory. The movie doesn’t even withhold his own cosmic connection to Cassie as a reveal — it literally opens with him killing her mother (Kerry Bishé) who is on a spider research trip in the Amazon while very pregnant with her. The venom, and some Amazonian spider-people, save the baby though.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951144",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952148/madame-web-review-dakota-johnson-sydney-sweeney",
"authors": [
"byline_arts_13952148"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_7584",
"arts_3570",
"arts_21937"
],
"featImg": "arts_13952159",
"label": "arts"
},
"arts_13952134": {
"type": "posts",
"id": "arts_13952134",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952134",
"score": null,
"sort": [
1707851535000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1707851535,
"format": "standard",
"title": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"headTitle": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left | KQED",
"content": "\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NpBPm0b9deQ\u003c/p>\n\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13952077']But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6F4L5NkdaRY\u003c/p>\n\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7cmWbSv-GOE\u003c/p>\n\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951374']But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 771,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1707851535,
"excerpt": "Stewart eased back into the host's chair without missing a beat. It felt like he left a few weeks ago, rather than in 2015.",
"headData": {
"twImgId": "",
"twTitle": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"socialTitle": "Jon Stewart Returns to ‘The Daily Show’ in Time for Election 2024%%page%% %%sep%% KQED",
"ogTitle": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"ogImgId": "",
"twDescription": "",
"description": "Stewart eased back into the host's chair without missing a beat. It felt like he left a few weeks ago, rather than in 2015.",
"title": "Jon Stewart Returns to ‘The Daily Show’ in Time for Election 2024 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"datePublished": "2024-02-13T11:12:15-08:00",
"dateModified": "2024-02-13T11:12:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-daily-show-with-jon-stewarts-returns-triumph",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1231062790&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 13 Feb 2024 05:41:00 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 13 Feb 2024 12:13:53 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/13/1231062790/jon-stewart-daily-show-return-smooth?ft=nprml&f=1231062790",
"nprAudio": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/me/2024/02/20240213_me_jon_stewart_returns.mp3?orgId=1&topicId=1138&d=215&p=3&story=1231062790&ft=nprml&f=1231062790",
"nprImageAgency": "Comedy Central",
"nprAudioM3u": "http://api.npr.org/m3u/11231099279-c610fd.m3u?orgId=1&topicId=1138&d=215&p=3&story=1231062790&ft=nprml&f=1231062790",
"nprStoryId": "1231062790",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Matt Wilson",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 13 Feb 2024 12:13:00 -0500",
"path": "/arts/13952134/the-daily-show-with-jon-stewarts-returns-triumph",
"audioUrl": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/me/2024/02/20240213_me_jon_stewart_returns.mp3?orgId=1&topicId=1138&d=215&p=3&story=1231062790&ft=nprml&f=1231062790",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\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/NpBPm0b9deQ'\n title='//www.youtube.com/embed/NpBPm0b9deQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952077",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\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/6F4L5NkdaRY'\n title='//www.youtube.com/embed/6F4L5NkdaRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\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/7cmWbSv-GOE'\n title='//www.youtube.com/embed/7cmWbSv-GOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951374",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952134/the-daily-show-with-jon-stewarts-returns-triumph",
"authors": [
"byline_arts_13952134"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_4949",
"arts_8805",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952135",
"label": "arts_140"
},
"arts_13952077": {
"type": "posts",
"id": "arts_13952077",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952077",
"score": null,
"sort": [
1707762468000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1707762468,
"format": "standard",
"title": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"headTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners | KQED",
"content": "\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Z3vPLTpa30\u003c/p>\n\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>[aside postid='arts_13951795']Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sNGbLrrGYGs\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfB-glrgn5o\u003c/p>\n\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRaBlE6maf4\u003c/p>\n\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>[aside postid='pop_105499']But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0LXSb0PQ6HQ\u003c/p>\n\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xW-zNOT4P1A\u003c/p>\n\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUnKqXTSJWU\u003c/p>\n\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zolFHbtEew\u003c/p>\n\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZtdfuNZtIU\u003c/p>\n\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wYPTZIFQoDQ\u003c/p>\n\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DTLM5o-9hYg\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YKzk1h7qrj8\u003c/p>\n\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OBcd8S0YYuU\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+ads+played+it+safe%2C+but+there+were+still+some+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2220,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1707762468,
"excerpt": "Celebrities from Cardi B to Arnold Schwarzenegger sold products with a wink.",
"headData": {
"twImgId": "",
"twTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"socialTitle": "Best and Worst Super Bowl Ads, 2024 %%page%% %%sep%% KQED",
"ogTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"ogImgId": "",
"twDescription": "",
"description": "Celebrities from Cardi B to Arnold Schwarzenegger sold products with a wink.",
"title": "Best and Worst Super Bowl Ads, 2024 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"datePublished": "2024-02-12T10:27:48-08:00",
"dateModified": "2024-02-12T10:27:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "super-bowl-commercials-best-and-worst-2024",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1229431685&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 12 Feb 2024 05:01:11 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 12 Feb 2024 12:13:08 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/12/1229431685/best-super-bowl-commercials?ft=nprml&f=1229431685",
"nprImageAgency": "Screenshot by NPR",
"nprStoryId": "1229431685",
"nprByline": "Eric Deggans",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 12 Feb 2024 12:13:00 -0500",
"path": "/arts/13952077/super-bowl-commercials-best-and-worst-2024",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\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/5Z3vPLTpa30'\n title='//www.youtube.com/embed/5Z3vPLTpa30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\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>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951795",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\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/sNGbLrrGYGs'\n title='//www.youtube.com/embed/sNGbLrrGYGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\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/sfB-glrgn5o'\n title='//www.youtube.com/embed/sfB-glrgn5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\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/hRaBlE6maf4'\n title='//www.youtube.com/embed/hRaBlE6maf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_105499",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\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/0LXSb0PQ6HQ'\n title='//www.youtube.com/embed/0LXSb0PQ6HQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\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/xW-zNOT4P1A'\n title='//www.youtube.com/embed/xW-zNOT4P1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\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/aUnKqXTSJWU'\n title='//www.youtube.com/embed/aUnKqXTSJWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\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/6zolFHbtEew'\n title='//www.youtube.com/embed/6zolFHbtEew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sZtdfuNZtIU'\n title='//www.youtube.com/embed/sZtdfuNZtIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wYPTZIFQoDQ'\n title='//www.youtube.com/embed/wYPTZIFQoDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\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/DTLM5o-9hYg'\n title='//www.youtube.com/embed/DTLM5o-9hYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YKzk1h7qrj8'\n title='//www.youtube.com/embed/YKzk1h7qrj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\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>\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/OBcd8S0YYuU'\n title='//www.youtube.com/embed/OBcd8S0YYuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+ads+played+it+safe%2C+but+there+were+still+some+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952077/super-bowl-commercials-best-and-worst-2024",
"authors": [
"byline_arts_13952077"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_21823",
"arts_3842"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952078",
"label": "arts_137"
},
"arts_13952067": {
"type": "posts",
"id": "arts_13952067",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952067",
"score": null,
"sort": [
1707713684000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1707713684,
"format": "standard",
"title": "Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come",
"headTitle": "Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come | KQED",
"content": "\u003cp>Beyoncé teased, announced and dropped new music in the span of less than an hour during Sunday’s Super Bowl.\u003c/p>\n\u003cp>“Okay, they ready! Drop the new music,” Beyoncé says in the final seconds of a \u003ca href=\"https://www.instagram.com/reel/C3Os7bUxELf/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Verizon commercial\u003c/a> that aired during the third quarter.\u003c/p>\n\u003cp>[aside postid='arts_13873945']Social media, already \u003ca href=\"https://www.npr.org/2024/02/10/1230621176/super-bowl-58\">buzzing from the Super Bowl action\u003c/a> on and off the field (star-studded stands, halftime show and commercials included), went into a further frenzy.\u003c/p>\n\u003cp>Within minutes, Beyoncé’s accounts had made it official.\u003c/p>\n\u003cp>The star posted a minute-long \u003ca href=\"https://www.instagram.com/p/C3Ot8xfRIaA/\">video to Instagram\u003c/a> showing a taxi with a Texas vanity plate (“HOLD-EM”) driving through dusty roads, past radio towers and a sign for “Radio Texas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-fV37wdHG8U\u003c/p>\n\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g92AYBlNOi0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 292,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1707714120,
"excerpt": "Beyoncé teased, confirmed and dropped new music in the span of less than an hour during Sunday's Super Bowl.",
"headData": {
"twImgId": "",
"twTitle": "Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come",
"socialTitle": "Beyoncé Won the Super Bowl, Dropping Two New Songs %%page%% %%sep%% KQED",
"ogTitle": "Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come",
"ogImgId": "",
"twDescription": "",
"description": "Beyoncé teased, confirmed and dropped new music in the span of less than an hour during Sunday's Super Bowl.",
"title": "Beyoncé Won the Super Bowl, Dropping Two New Songs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come",
"datePublished": "2024-02-11T20:54:44-08:00",
"dateModified": "2024-02-11T21:02:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beyonce-new-songs-super-bowl-16-carriages-texas-hold-em",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1230788187&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 11 Feb 2024 21:58:46 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sun, 11 Feb 2024 21:58:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/11/1230788187/beyonce-new-music-texas-hold-em?ft=nprml&f=1230788187",
"nprImageAgency": "Getty Images",
"nprStoryId": "1230788187",
"nprByline": "Rachel Treisman",
"sticky": false,
"nprImageCredit": "Frazer Harrison",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 11 Feb 2024 21:58:00 -0500",
"path": "/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé teased, announced and dropped new music in the span of less than an hour during Sunday’s Super Bowl.\u003c/p>\n\u003cp>“Okay, they ready! Drop the new music,” Beyoncé says in the final seconds of a \u003ca href=\"https://www.instagram.com/reel/C3Os7bUxELf/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Verizon commercial\u003c/a> that aired during the third quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13873945",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Social media, already \u003ca href=\"https://www.npr.org/2024/02/10/1230621176/super-bowl-58\">buzzing from the Super Bowl action\u003c/a> on and off the field (star-studded stands, halftime show and commercials included), went into a further frenzy.\u003c/p>\n\u003cp>Within minutes, Beyoncé’s accounts had made it official.\u003c/p>\n\u003cp>The star posted a minute-long \u003ca href=\"https://www.instagram.com/p/C3Ot8xfRIaA/\">video to Instagram\u003c/a> showing a taxi with a Texas vanity plate (“HOLD-EM”) driving through dusty roads, past radio towers and a sign for “Radio Texas.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\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/-fV37wdHG8U'\n title='//www.youtube.com/embed/-fV37wdHG8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\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/g92AYBlNOi0'\n title='//www.youtube.com/embed/g92AYBlNOi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em",
"authors": [
"byline_arts_13952067"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1686",
"arts_7534",
"arts_10278",
"arts_2624",
"arts_3842"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952068",
"label": "arts_137"
},
"arts_13952039": {
"type": "posts",
"id": "arts_13952039",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952039",
"score": null,
"sort": [
1707510564000
]
},
"guestAuthors": [],
"slug": "is-bigfoot-real-a-new-book-dives-deep-into-the-legend",
"title": "Is Bigfoot Real? A New Book Dives Deep Into the Legend",
"publishDate": 1707510564,
"format": "standard",
"headTitle": "Is Bigfoot Real? A New Book Dives Deep Into the Legend | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>My obsession with literature exploded in my early teens. Back then, my diet consisted mostly of whatever classics I could find, novels by Jules Verne, poetry by Mario Benedetti, and a lot of horror novels by Stephen King, Richard Laymon, and Bentley Little — all of which I was arguably way too young to be reading.\u003c/p>\n\u003cp>[aside postid='arts_13935838']Then I discovered cryptozoology and went down a rabbit hole, consuming anything I could find about cryptids like Nessie, mokèlé-mbèmbé, and the chupacabras as well as animals that had jumped from cryptozoology to the pages of science books — the giant squid (\u003cem>Architeuthis dux\u003c/em>) and the coelacanth. My favorite cryptid? Bigfoot. Books, documentaries shot with a $12 budget, shaky footage online; I couldn’t get enough. I wanted to know more about it, but also about the folks who swore it was real, the people who had seen it, the devout researchers who spent countless nights out in the middle of woods looking for the famous creature I’d seen in the Patterson-Gimlin film (which is, along with the Zapruder film, probably one of the most scrutinized pieces of footage in history).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oPlRr_OfxZI\u003c/p>\n\u003cp>When I heard John O’Connor’s \u003cem>The Secret History of Bigfoot: Field Notes on a North American Monster\u003c/em> was coming, I knew I had to read it. My expectations were somewhere close to the exosphere — unfair, I know — but O’Connor surpassed all of them.\u003c/p>\n\u003cp>If you’re looking for a book that proves the existence of Bigfoot, look elsewhere. If you want a book that’s all about discrediting evidence and making those who believe in Bigfoot look like mumbling fools wearing tinfoil hats, also look elsewhere. \u003cem>The Secret History of Bigfoot \u003c/em>is a smart, engaging, incredibly informative, hilarious, and wonderfully immersive journey not only into the history of Bigfoot in North America and the culture around but also a deep, honest, heartfelt look at the people who obsess about, the meaning of its myth’s lingering appeal, and the psychology behind it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>O’Connor, a journalist and self-diagnosed skeptic, is fascinated by Bigfoot, so he spent a year travelling around the country, talking to those who live for Sasquatch, and tracking Bigfoot in the untamed terrain of the Pacific Northwest. The book would’ve been interesting if O’Connor merely transcribed his interviews with those looking for Bigfoot. But his research and interviews also include psychologists and scientists — and he delves deep into everything from history and philosophy to politics and the flawed nature of memory. The result is one of the most compelling nonfiction books you’ll read this year.\u003c/p>\n\u003cp>[aside postid='arts_13896082']There are two elements that make this is fantastic read. The first is O’Connor’s voice. As knowledgeable as he is funny and as well-read as he is self-deprecating, O’Connor quickly turns into the perfect narrator for this adventure. His quest for understanding is powerful, and he presents every person in this book with the same gravitas. Yes, this is a hilarious narrative, but also a very serious and enlightening one in which O’Connor prefers to make fun of himself instead of making fun of others (except for folks who are convinced the election was stolen).\u003c/p>\n\u003cfigure id=\"attachment_13952046\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png\" alt=\"Cover of The Secret History of Bigfoot. Text over an image of trees.\" width=\"830\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-768x1125.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Secret History of Bigfoot’ by John O’Connor. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second element is the breadth and scope of this book. This is about Bigfoot, about its history and the people trying to find him, but O’Connor somehow manages to take the discussion into unexpected places without ever straying far from the creature at the core of the narrative. Occam’s razor, Heisenberg’s uncertainty principle, the effects of unreliable witness accounts and racism in our legal system, pseudoscience and its appeal, “the magnetic tug of hidden things,” and “the considerable gap between perception and reality” are all part of this book. So are Fernando Pessoa, Henry David Thoreau, M.C. Escher, Joseph Campbell, the Appalachian Trail, the movies \u003cem>Harry and the Hendersons\u003c/em> and \u003cem>Predator,\u003c/em> Immanuel Kant, Martin Heidegger, and Dr. Jeff Meldrum, a full professor of anatomy and anthropology at Idaho State University who was always the voice of reason in many of those documentaries I used to watch. And those are only a few of the people, cultural products, and ideas in the book. O’Connor is brilliant in an engaging way. You’ll learn things reading this book, but you’ll never feel like he’s trying to teach you something or preaching about his own beliefs.\u003c/p>\n\u003cp>[aside postid='news_10708114']\u003cem>The Secret History of Bigfoot \u003c/em>is a wonderful book about one of the most ubiquitous myths in the U.S. and around the world: a wild man, a hairy beast stalking the woods, a magical creature that remains untouched by the mess we’ve made. It’s also a celebration of one of the weirdest subcultures we have and a narrative that fully embraces the fact that we sometimes need to believe in something that’s bigger and freer than us. Bigfoot, a large being stomping around in the woods, is all of that and more. He speaks to us of fear, sure, but also of magic and the wildness of nature. Bigfoot might be out there, but its presence is all over this book. Go look for it. I assure you it’s an amazing adventure you can embark on without leaving your house.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Bigfoot+real%3F+A+new+book+dives+deep+into+the+legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "‘The Secret History of Bigfoot’ is a smart and immersive journey into the history of Bigfoot and the people who obsess about it.",
"status": "publish",
"parent": 0,
"modified": 1741715579,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 982
},
"headData": {
"title": "Book Review: ‘The Secret History of Bigfoot’ by John O’Connor | KQED",
"description": "‘The Secret History of Bigfoot’ is a smart and immersive journey into the history of Bigfoot and the people who obsess about it.",
"ogTitle": "Is Bigfoot Real? A New Book Dives Deep Into the Legend",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Is Bigfoot Real? A New Book Dives Deep Into the Legend",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘The Secret History of Bigfoot’ by John O’Connor %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Is Bigfoot Real? A New Book Dives Deep Into the Legend",
"datePublished": "2024-02-09T12:29:24-08:00",
"dateModified": "2025-03-11T10:52:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Kayana Szymczak",
"nprByline": "Gabino Iglesias",
"nprImageAgency": "Getty Images",
"nprStoryId": "1229533661",
"nprApiLink": "http://api.npr.org/query?id=1229533661&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2024/02/09/1229533661/john-oconnor-book-the-secret-history-of-bigfoot-legend?ft=nprml&f=1229533661",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 09 Feb 2024 06:00:00 -0500",
"nprStoryDate": "Fri, 09 Feb 2024 06:00:09 -0500",
"nprLastModifiedDate": "Fri, 09 Feb 2024 06:00:09 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952039/is-bigfoot-real-a-new-book-dives-deep-into-the-legend",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My obsession with literature exploded in my early teens. Back then, my diet consisted mostly of whatever classics I could find, novels by Jules Verne, poetry by Mario Benedetti, and a lot of horror novels by Stephen King, Richard Laymon, and Bentley Little — all of which I was arguably way too young to be reading.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935838",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Then I discovered cryptozoology and went down a rabbit hole, consuming anything I could find about cryptids like Nessie, mokèlé-mbèmbé, and the chupacabras as well as animals that had jumped from cryptozoology to the pages of science books — the giant squid (\u003cem>Architeuthis dux\u003c/em>) and the coelacanth. My favorite cryptid? Bigfoot. Books, documentaries shot with a $12 budget, shaky footage online; I couldn’t get enough. I wanted to know more about it, but also about the folks who swore it was real, the people who had seen it, the devout researchers who spent countless nights out in the middle of woods looking for the famous creature I’d seen in the Patterson-Gimlin film (which is, along with the Zapruder film, probably one of the most scrutinized pieces of footage in history).\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/oPlRr_OfxZI'\n title='//www.youtube.com/embed/oPlRr_OfxZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I heard John O’Connor’s \u003cem>The Secret History of Bigfoot: Field Notes on a North American Monster\u003c/em> was coming, I knew I had to read it. My expectations were somewhere close to the exosphere — unfair, I know — but O’Connor surpassed all of them.\u003c/p>\n\u003cp>If you’re looking for a book that proves the existence of Bigfoot, look elsewhere. If you want a book that’s all about discrediting evidence and making those who believe in Bigfoot look like mumbling fools wearing tinfoil hats, also look elsewhere. \u003cem>The Secret History of Bigfoot \u003c/em>is a smart, engaging, incredibly informative, hilarious, and wonderfully immersive journey not only into the history of Bigfoot in North America and the culture around but also a deep, honest, heartfelt look at the people who obsess about, the meaning of its myth’s lingering appeal, and the psychology behind it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>O’Connor, a journalist and self-diagnosed skeptic, is fascinated by Bigfoot, so he spent a year travelling around the country, talking to those who live for Sasquatch, and tracking Bigfoot in the untamed terrain of the Pacific Northwest. The book would’ve been interesting if O’Connor merely transcribed his interviews with those looking for Bigfoot. But his research and interviews also include psychologists and scientists — and he delves deep into everything from history and philosophy to politics and the flawed nature of memory. The result is one of the most compelling nonfiction books you’ll read this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13896082",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There are two elements that make this is fantastic read. The first is O’Connor’s voice. As knowledgeable as he is funny and as well-read as he is self-deprecating, O’Connor quickly turns into the perfect narrator for this adventure. His quest for understanding is powerful, and he presents every person in this book with the same gravitas. Yes, this is a hilarious narrative, but also a very serious and enlightening one in which O’Connor prefers to make fun of himself instead of making fun of others (except for folks who are convinced the election was stolen).\u003c/p>\n\u003cfigure id=\"attachment_13952046\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png\" alt=\"Cover of The Secret History of Bigfoot. Text over an image of trees.\" width=\"830\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-768x1125.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Secret History of Bigfoot’ by John O’Connor. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second element is the breadth and scope of this book. This is about Bigfoot, about its history and the people trying to find him, but O’Connor somehow manages to take the discussion into unexpected places without ever straying far from the creature at the core of the narrative. Occam’s razor, Heisenberg’s uncertainty principle, the effects of unreliable witness accounts and racism in our legal system, pseudoscience and its appeal, “the magnetic tug of hidden things,” and “the considerable gap between perception and reality” are all part of this book. So are Fernando Pessoa, Henry David Thoreau, M.C. Escher, Joseph Campbell, the Appalachian Trail, the movies \u003cem>Harry and the Hendersons\u003c/em> and \u003cem>Predator,\u003c/em> Immanuel Kant, Martin Heidegger, and Dr. Jeff Meldrum, a full professor of anatomy and anthropology at Idaho State University who was always the voice of reason in many of those documentaries I used to watch. And those are only a few of the people, cultural products, and ideas in the book. O’Connor is brilliant in an engaging way. You’ll learn things reading this book, but you’ll never feel like he’s trying to teach you something or preaching about his own beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_10708114",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Secret History of Bigfoot \u003c/em>is a wonderful book about one of the most ubiquitous myths in the U.S. and around the world: a wild man, a hairy beast stalking the woods, a magical creature that remains untouched by the mess we’ve made. It’s also a celebration of one of the weirdest subcultures we have and a narrative that fully embraces the fact that we sometimes need to believe in something that’s bigger and freer than us. Bigfoot, a large being stomping around in the woods, is all of that and more. He speaks to us of fear, sure, but also of magic and the wildness of nature. Bigfoot might be out there, but its presence is all over this book. Go look for it. I assure you it’s an amazing adventure you can embark on without leaving your house.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Bigfoot+real%3F+A+new+book+dives+deep+into+the+legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952039/is-bigfoot-real-a-new-book-dives-deep-into-the-legend",
"authors": [
"byline_arts_13952039"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_21933",
"arts_22296",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952049",
"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": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 792,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2995,
"relation": "eq"
},
"items": [
"arts_13952420",
"arts_13952563",
"arts_13952549",
"arts_13952488",
"arts_13952409",
"arts_13952306",
"arts_13952301",
"arts_13952148",
"arts_13952134",
"arts_13952077",
"arts_13952067",
"arts_13952039"
],
"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_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_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_9124": {
"type": "terms",
"id": "arts_9124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9124",
"found": true
},
"relationships": {},
"name": "Animals",
"slug": "animals",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Animals | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 9136,
"isLoading": false,
"link": "/arts/tag/animals"
},
"arts_8481": {
"type": "terms",
"id": "arts_8481",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8481",
"found": true
},
"relationships": {},
"featImg": null,
"name": "CBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "CBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8493,
"slug": "cbs",
"isLoading": false,
"link": "/arts/tag/cbs"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_8819": {
"type": "terms",
"id": "arts_8819",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8819",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dogs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dogs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8831,
"slug": "dogs",
"isLoading": false,
"link": "/arts/tag/dogs"
},
"arts_4088": {
"type": "terms",
"id": "arts_4088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4088",
"found": true
},
"relationships": {},
"name": "Dolly Parton",
"slug": "dolly-parton",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Dolly Parton | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 4100,
"isLoading": false,
"link": "/arts/tag/dolly-parton"
},
"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_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_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_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_21951": {
"type": "terms",
"id": "arts_21951",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21951",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dating",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dating Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21963,
"slug": "dating",
"isLoading": false,
"link": "/arts/tag/dating"
},
"arts_21794": {
"type": "terms",
"id": "arts_21794",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21794",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Peacock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Peacock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21806,
"slug": "peacock",
"isLoading": false,
"link": "/arts/tag/peacock"
},
"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_1386": {
"type": "terms",
"id": "arts_1386",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1386",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sex",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sex Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1398,
"slug": "sex",
"isLoading": false,
"link": "/arts/tag/sex"
},
"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_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_21949": {
"type": "terms",
"id": "arts_21949",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21949",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asia",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asia Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21961,
"slug": "asia",
"isLoading": false,
"link": "/arts/tag/asia"
},
"arts_4949": {
"type": "terms",
"id": "arts_4949",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4949",
"found": true
},
"relationships": {},
"featImg": null,
"name": "election",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "election Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4961,
"slug": "election",
"isLoading": false,
"link": "/arts/tag/election"
},
"arts_21948": {
"type": "terms",
"id": "arts_21948",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21948",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jennifer Lopez",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jennifer Lopez Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21960,
"slug": "jennifer-lopez",
"isLoading": false,
"link": "/arts/tag/jennifer-lopez"
},
"arts_3701": {
"type": "terms",
"id": "arts_3701",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3701",
"found": true
},
"relationships": {},
"featImg": null,
"name": "academy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "academy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3713,
"slug": "academy-awards",
"isLoading": false,
"link": "/arts/tag/academy-awards"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_7496": {
"type": "terms",
"id": "arts_7496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fremont",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fremont Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7508,
"slug": "fremont",
"isLoading": false,
"link": "/arts/tag/fremont"
},
"arts_1050": {
"type": "terms",
"id": "arts_1050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "interview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "interview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1067,
"slug": "interview",
"isLoading": false,
"link": "/arts/tag/interview"
},
"arts_3698": {
"type": "terms",
"id": "arts_3698",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oscars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oscars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3710,
"slug": "oscars",
"isLoading": false,
"link": "/arts/tag/oscars"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_7584": {
"type": "terms",
"id": "arts_7584",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7584",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comic books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comic books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7596,
"slug": "comic-books",
"isLoading": false,
"link": "/arts/tag/comic-books"
},
"arts_3570": {
"type": "terms",
"id": "arts_3570",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3570",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Marvel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marvel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3582,
"slug": "marvel",
"isLoading": false,
"link": "/arts/tag/marvel"
},
"arts_21937": {
"type": "terms",
"id": "arts_21937",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21937",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Spider-man",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Spider-man Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21949,
"slug": "spider-man",
"isLoading": false,
"link": "/arts/tag/spider-man"
},
"arts_8805": {
"type": "terms",
"id": "arts_8805",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8805",
"found": true
},
"relationships": {},
"featImg": null,
"name": "late night",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "late night Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8817,
"slug": "late-night",
"isLoading": false,
"link": "/arts/tag/late-night"
},
"arts_21823": {
"type": "terms",
"id": "arts_21823",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21823",
"found": true
},
"relationships": {},
"featImg": null,
"name": "2024",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "2024 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21835,
"slug": "2024",
"isLoading": false,
"link": "/arts/tag/2024"
},
"arts_3842": {
"type": "terms",
"id": "arts_3842",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3842",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Super Bowl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Super Bowl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3854,
"slug": "super-bowl",
"isLoading": false,
"link": "/arts/tag/super-bowl"
},
"arts_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_2624": {
"type": "terms",
"id": "arts_2624",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2624",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2636,
"slug": "new-music",
"isLoading": false,
"link": "/arts/tag/new-music"
},
"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_21933": {
"type": "terms",
"id": "arts_21933",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21933",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bigfoot",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bigfoot Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21945,
"slug": "bigfoot",
"isLoading": false,
"link": "/arts/tag/bigfoot"
},
"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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}