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_13922029": {
"type": "attachments",
"id": "arts_13922029",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922029",
"found": true
},
"parent": 13922004,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-e1669690297288.png",
"width": 1920,
"height": 1194
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-2048x1274.png",
"width": 2048,
"mimeType": "image/png",
"height": 1274
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1020x635.png",
"width": 1020,
"mimeType": "image/png",
"height": 635
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1536x956.png",
"width": 1536,
"mimeType": "image/png",
"height": 956
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1920x1194.png",
"width": 1920,
"mimeType": "image/png",
"height": 1194
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-800x498.png",
"width": 800,
"mimeType": "image/png",
"height": 498
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-768x478.png",
"width": 768,
"mimeType": "image/png",
"height": 478
}
},
"publishDate": 1669690233,
"modified": 1669749361,
"caption": "Have you heard the good news about our lord and savior Jesus Christ? Hold onto your britches because you're about to!",
"description": null,
"title": "Have you heard the good news about our lord and savior Jesus Christ? Hold onto your britches because you're about to!",
"credit": null,
"status": "inherit",
"altTag": "Dolly Parton stands wearing a white dress, surrounded by falling snow, gazing upwards towards the camera. She is winking, a bright light covering her closed eyelid.",
"isLoading": false,
"fetchFailed": false
},
"arts_13922106": {
"type": "attachments",
"id": "arts_13922106",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922106",
"found": true
},
"parent": 13922105,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-e1669829961919.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/composites-9-_wide-ac6d85b039d69065e982b38cc1bdbcec709f9180-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1669829239,
"modified": 1669830141,
"caption": "The key change has been used by musicians like Beyoncé, Travis Scott, Brian Wilson of the Beach Boys and Michael Jackson for decades. Nowadays, it’s getting harder and harder to find in top songs.",
"description": null,
"title": "The key change has been used by musicians like Beyoncé, Travis Scott, Brian Wilson of the Beach Boys and Michael Jackson for decades. Nowadays, it’s getting harder and harder to find in top songs.",
"credit": "Kevin Winter/The Recording Academy/Getty Images; Rick Kern/Getty Images; Malcolm MacNeil/Mirrorpix/Getty Images; GARCIA/Gamma-Rapho/Getty Images",
"status": "inherit",
"altTag": "Images of four singers arranged in a rectangle. Left to right: Beyoncé smiling, Travis Scott rapping, Brian Wilson posing in the 1970s, Michael Jackson performing intensely on stage.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921923": {
"type": "attachments",
"id": "arts_13921923",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921923",
"found": true
},
"parent": 13921900,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-160x101.png",
"width": 160,
"mimeType": "image/png",
"height": 101
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM.png",
"width": 2094,
"height": 1324
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-2048x1295.png",
"width": 2048,
"mimeType": "image/png",
"height": 1295
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1020x645.png",
"width": 1020,
"mimeType": "image/png",
"height": 645
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1536x971.png",
"width": 1536,
"mimeType": "image/png",
"height": 971
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1920x1214.png",
"width": 1920,
"mimeType": "image/png",
"height": 1214
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-800x506.png",
"width": 800,
"mimeType": "image/png",
"height": 506
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-768x486.png",
"width": 768,
"mimeType": "image/png",
"height": 486
}
},
"publishDate": 1669195854,
"modified": 1669195941,
"caption": "The Beastie Boys in their classic 1986 video, ‘(You Gotta) Fight For Your Right (To Party).’",
"description": null,
"title": "The Beastie Boys in their classic 1986 video, ‘(You Gotta) Fight For Your Right (To Party).’",
"credit": null,
"status": "inherit",
"altTag": "Three young men sit close on a couch, gesturing wildly and shouting.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921930": {
"type": "attachments",
"id": "arts_13921930",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921930",
"found": true
},
"parent": 13921929,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-scaled-e1669229250958.jpg",
"width": 1920,
"height": 1079
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-2048x1151.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1151
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1536x863.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 863
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1669228981,
"modified": 1669229393,
"caption": "Piping? Hot! (L-R): ISB Supervisor Blevin (Ben Bailey Smith), Chief Inspector Hyne (Rupert Vansittart) and Syril Karn (Kyle Soller) in ‘Andor.’",
"description": "(L-R): ISB Supervisor Blevin (Ben Bailey Smith), Chief Inspector Hyne (Rupert Vansittart) and Syril Karn (Kyle Soller) in Lucasfilm's ANDOR, exclusively on Disney+. ",
"title": "Piping? Hot! (L-R): ISB Supervisor Blevin (Ben Bailey Smith), Chief Inspector Hyne (Rupert Vansittart) and Syril Karn (Kyle Soller) in ‘Andor.’",
"credit": "Lucasfilm Ltd",
"status": "inherit",
"altTag": "One man in uniform glares at another more nervous looking man in uniform. A third older man in uniform stands behind them both, looking off into the distance.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921867": {
"type": "attachments",
"id": "arts_13921867",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921867",
"found": true
},
"parent": 13921866,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-scaled-e1669148581687.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1669145963,
"modified": 1669148688,
"caption": "The OG 'Queer Eye' cast faces off against the Netflix 'Queer Eye' members on 'Celebrity Family Feud.'",
"description": null,
"title": "The OG 'Queer Eye' cast faces off against the Netflix 'Queer Eye' members on 'Celebrity Family Feud.'",
"credit": "Byron Cohen via Getty Images",
"status": "inherit",
"altTag": "The colorful, neon lit set of 'Family Feud' where two long podiums of people face off underneath a big screen.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921780": {
"type": "attachments",
"id": "arts_13921780",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921780",
"found": true
},
"parent": 13921777,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-160x93.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 93
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85.jpg",
"width": 1198,
"height": 697
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1020x593.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 593
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 465
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-768x447.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 447
}
},
"publishDate": 1668729104,
"modified": 1668729143,
"caption": "Taylor Swift, pictured at the 2022 MTV VMAs in August, will embark on her first tour in five years this coming March. Over two million people bought tickets to The Eras Tour on the first day of pre-sale, despite major technical issues.",
"description": null,
"title": "gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85",
"credit": "Jamie McCarthy/Getty Images for MTV/Paramount Global",
"status": "inherit",
"altTag": "a white woman in a rhinestone dress with red lipstick on a red carpet",
"isLoading": false,
"fetchFailed": false
},
"arts_13921730": {
"type": "attachments",
"id": "arts_13921730",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921730",
"found": true
},
"parent": 13921719,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-160x109.png",
"width": 160,
"mimeType": "image/png",
"height": 109
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM.png",
"width": 1714,
"height": 1172
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-1020x697.png",
"width": 1020,
"mimeType": "image/png",
"height": 697
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-1536x1050.png",
"width": 1536,
"mimeType": "image/png",
"height": 1050
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-800x547.png",
"width": 800,
"mimeType": "image/png",
"height": 547
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-16-at-7.16.24-PM-768x525.png",
"width": 768,
"mimeType": "image/png",
"height": 525
}
},
"publishDate": 1668655041,
"modified": 1668655185,
"caption": "Carey Mulligan as Megan Twohey and Zoe Kazan as Jodi Kantor in ’She Said.’",
"description": null,
"title": "Carey Mulligan as Megan Twohey and Zoe Kazan as Jodi Kantor in ’She Said.’",
"credit": "Universal Pictures",
"status": "inherit",
"altTag": "A woman with long brown hair sits on the edge of a desk listening closely as another woman holds up a cell phone for her to listen to. They wear serious expressions.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921643": {
"type": "attachments",
"id": "arts_13921643",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921643",
"found": true
},
"parent": 13921642,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109.jpg",
"width": 1280,
"height": 852
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1668556871,
"modified": 1668557206,
"caption": "Beyoncé performs \"Be Alive\" during the Oscars last March. The song, written for the film 'King Richard' received one of her nine Grammy nominations.",
"description": null,
"title": "Beyoncé performs \"Be Alive\" during the Oscars last March. The song, written for the film 'King Richard' received one of her nine Grammy nominations.",
"credit": "Mason Poole/A.M.P.A.S. via Getty Images",
"status": "inherit",
"altTag": "A beautiful Black woman stands in formation with other Black women. They are all wearing flourescent yellow skirts and dresses.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921617": {
"type": "attachments",
"id": "arts_13921617",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921617",
"found": true
},
"parent": 13921616,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/492164_0_custom-18f525fc2510a925d42837a312c30274e9141e95-160x84.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 84
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/492164_0_custom-18f525fc2510a925d42837a312c30274e9141e95-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/492164_0_custom-18f525fc2510a925d42837a312c30274e9141e95.jpg",
"width": 1000,
"height": 528
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/492164_0_custom-18f525fc2510a925d42837a312c30274e9141e95-800x422.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 422
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/492164_0_custom-18f525fc2510a925d42837a312c30274e9141e95-768x406.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 406
}
},
"publishDate": 1668538857,
"modified": 1668539127,
"caption": "Steve Jobs' sandals sold for $218,750 at auction. Their present odor is unknown.",
"description": null,
"title": "Steve Jobs' sandals sold for $218,750 at auction. Their present odor is unknown.",
"credit": "Julien's Auctions",
"status": "inherit",
"altTag": "A crumpled and very worn pair of brown Birkenstock sandals.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921520": {
"type": "attachments",
"id": "arts_13921520",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921520",
"found": true
},
"parent": 13921477,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-160x94.png",
"width": 160,
"mimeType": "image/png",
"height": 94
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage.png",
"width": 2104,
"height": 1230
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-2048x1197.png",
"width": 2048,
"mimeType": "image/png",
"height": 1197
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-1020x596.png",
"width": 1020,
"mimeType": "image/png",
"height": 596
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-1536x898.png",
"width": 1536,
"mimeType": "image/png",
"height": 898
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-1920x1122.png",
"width": 1920,
"mimeType": "image/png",
"height": 1122
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-800x468.png",
"width": 800,
"mimeType": "image/png",
"height": 468
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hosp-bandage-768x449.png",
"width": 768,
"mimeType": "image/png",
"height": 449
}
},
"publishDate": 1668113117,
"modified": 1668113186,
"caption": "'Falling for Christmas': Just look at the state of it.",
"description": null,
"title": "'Falling for Christmas': Just look at the state of it.",
"credit": "Netflix",
"status": "inherit",
"altTag": "A woman with long flowing hair and a head bandage sits in a hospital bed.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921445": {
"type": "attachments",
"id": "arts_13921445",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921445",
"found": true
},
"parent": 13921444,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d.jpg",
"width": 1727,
"height": 1295
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1668020297,
"modified": 1668020772,
"caption": "Drake and 21 Savage released an Instagram post on Oct. 30 promoting a fake Vogue magazine cover. Vogue's publisher Condé Nast is now suing both rappers for using the fake cover to promote their new album.",
"description": null,
"title": "Drake and 21 Savage released an Instagram post on Oct. 30 promoting a fake Vogue magazine cover. Vogue's publisher Condé Nast is now suing both rappers for using the fake cover to promote their new album.",
"credit": "Drake and 21 Savage/Screenshot by NPR",
"status": "inherit",
"altTag": "Nine fake Vogue magazines, featuring Drake and 21 Savage on the cover, arranged in a fan formation.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921322": {
"type": "attachments",
"id": "arts_13921322",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921322",
"found": true
},
"parent": 13921321,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-e1667584184145.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1667583024,
"modified": 1667584242,
"caption": "'Good Night Oppy' is a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting.",
"description": null,
"title": "'Good Night Oppy' is a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting.",
"credit": "Courtesy of Prime Video",
"status": "inherit",
"altTag": "A Mars Rover robot explores the red planet.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13922105": {
"type": "authors",
"id": "byline_arts_13922105",
"meta": {
"override": true
},
"slug": "byline_arts_13922105",
"name": "Mallika Seshadri",
"isLoading": false
},
"byline_arts_13921929": {
"type": "authors",
"id": "byline_arts_13921929",
"meta": {
"override": true
},
"slug": "byline_arts_13921929",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13921866": {
"type": "authors",
"id": "byline_arts_13921866",
"meta": {
"override": true
},
"slug": "byline_arts_13921866",
"name": "Arielle Retting",
"isLoading": false
},
"byline_arts_13921777": {
"type": "authors",
"id": "byline_arts_13921777",
"meta": {
"override": true
},
"slug": "byline_arts_13921777",
"name": "Rachel Treisman",
"isLoading": false
},
"byline_arts_13921642": {
"type": "authors",
"id": "byline_arts_13921642",
"meta": {
"override": true
},
"slug": "byline_arts_13921642",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13921616": {
"type": "authors",
"id": "byline_arts_13921616",
"meta": {
"override": true
},
"slug": "byline_arts_13921616",
"name": "James Doubek",
"isLoading": false
},
"byline_arts_13921444": {
"type": "authors",
"id": "byline_arts_13921444",
"meta": {
"override": true
},
"slug": "byline_arts_13921444",
"name": "Jonathan Franklin",
"isLoading": false
},
"byline_arts_13921321": {
"type": "authors",
"id": "byline_arts_13921321",
"meta": {
"override": true
},
"slug": "byline_arts_13921321",
"name": "Bob Mondello",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.403412
},
"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": 91
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 91
}
},
{
"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_13922004": {
"type": "posts",
"id": "arts_13922004",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922004",
"score": null,
"sort": [
1669914698000
]
},
"guestAuthors": [],
"slug": "dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"title": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"publishDate": 1669914698,
"format": "standard",
"headTitle": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ooOAxj7mK84\u003c/p>\n\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>[aside postid='arts_13889581']14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>[aside postid='pop_14182']26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>[aside postid='arts_13889748']Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Em8tdr2UBQ0\u003c/p>\n\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>[aside postid='arts_13921477']1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Dolly Parton + Jesus + magic country stars + gratuitous family members + a show within a movie = Absolutely unhinged TV.",
"status": "publish",
"parent": 0,
"modified": 1733168682,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 69,
"wordCount": 3012
},
"headData": {
"title": "‘Dolly Parton’s Magic Mountain Christmas’ By-The-Minute Analysis | KQED",
"description": "Dolly Parton + Jesus + magic country stars + gratuitous family members + a show within a movie = Absolutely unhinged TV.",
"ogTitle": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Dolly Parton’s Magic Mountain Christmas’ By-The-Minute Analysis %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"datePublished": "2022-12-01T09:11:38-08:00",
"dateModified": "2024-12-02T11:44:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\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/ooOAxj7mK84'\n title='//www.youtube.com/embed/ooOAxj7mK84'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\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>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\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>14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_14182",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889748",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\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/Em8tdr2UBQ0'\n title='//www.youtube.com/embed/Em8tdr2UBQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921477",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\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>\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 Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_3388",
"arts_4088",
"arts_10278",
"arts_3247",
"arts_8480",
"arts_6012",
"arts_585"
],
"featImg": "arts_13922029",
"label": "arts_140"
},
"arts_13922105": {
"type": "posts",
"id": "arts_13922105",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922105",
"score": null,
"sort": [
1669830368000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1669830368,
"format": "standard",
"title": "Where Did All the Key Changes Go?",
"headTitle": "Where Did All the Key Changes Go? | KQED",
"content": "\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ONRf7h3Mdk&t=1s\u003c/p>\n\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ob7vObnFUJc\u003c/p>\n\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921576']According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PivWY9wn5ps\u003c/p>\n\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>[aside postid='arts_13921777']In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 808,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705006117,
"excerpt": "Many of the biggest hits in pop music used to have a key change, but it’s getting harder and harder to find in top hits.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Many of the biggest hits in pop music used to have a key change, but it’s getting harder and harder to find in top hits.",
"title": "Where Did All the Key Changes Go? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Where Did All the Key Changes Go?",
"datePublished": "2022-11-30T09:46:08-08:00",
"dateModified": "2024-01-11T12:48:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "where-did-all-the-key-changes-go",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1139707179&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 30 Nov 2022 05:01:05 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 30 Nov 2022 05:01:05 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/30/1139707179/where-did-all-the-key-changes-go?ft=nprml&f=1139707179",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/11/20221125_atc_why_the_key_change_has_disappeared_from_top-charting_tunes.mp3?orgId=1&topicId=613820055&d=159&story=1139707179&ft=nprml&f=1139707179",
"nprImageAgency": "Kevin Winter/The Recording Academy/Getty Images; Rick Kern/Getty Images; Malcolm MacNeil/Mirrorpix/Getty Images; GARCIA/Gamma-Rapho/Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/11139769053-fcd448.m3u?orgId=1&topicId=613820055&d=159&story=1139707179&ft=nprml&f=1139707179",
"nprStoryId": "1139707179",
"nprByline": "Mallika Seshadri",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 30 Nov 2022 05:01:00 -0500",
"path": "/arts/13922105/where-did-all-the-key-changes-go",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/11/20221125_atc_why_the_key_change_has_disappeared_from_top-charting_tunes.mp3?orgId=1&topicId=613820055&d=159&story=1139707179&ft=nprml&f=1139707179",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\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/6ONRf7h3Mdk'\n title='//www.youtube.com/embed/6ONRf7h3Mdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\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/Ob7vObnFUJc'\n title='//www.youtube.com/embed/Ob7vObnFUJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921576",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\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/PivWY9wn5ps'\n title='//www.youtube.com/embed/PivWY9wn5ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921777",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922105/where-did-all-the-key-changes-go",
"authors": [
"byline_arts_13922105"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1686",
"arts_4919",
"arts_5634"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13922106",
"label": "arts_137"
},
"arts_13921900": {
"type": "posts",
"id": "arts_13921900",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921900",
"score": null,
"sort": [
1669669992000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1669669992,
"format": "standard",
"title": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy",
"headTitle": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 876,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705006124,
"excerpt": "How a chance encounter with teenaged Beastie Boys impersonators restored my faith in modern music fandom.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "How a chance encounter with teenaged Beastie Boys impersonators restored my faith in modern music fandom.",
"title": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy",
"datePublished": "2022-11-28T13:13:12-08:00",
"dateModified": "2024-01-11T12:48:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "best-of-2022-beastie-boys-santa-cruz",
"status": "publish",
"sourceUrl": "https://ww2.kqed.org/arts/tag/one-beautiful-thing",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "One Beautiful Thing From 2022",
"path": "/arts/13921900/best-of-2022-beastie-boys-santa-cruz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\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>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921900/best-of-2022-beastie-boys-santa-cruz",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_5665",
"arts_10342",
"arts_10278",
"arts_12735",
"arts_19127"
],
"featImg": "arts_13921923",
"label": "source_arts_13921900"
},
"arts_13921929": {
"type": "posts",
"id": "arts_13921929",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921929",
"score": null,
"sort": [
1669229517000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1669229517,
"format": "standard",
"title": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe",
"headTitle": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe | KQED",
"content": "\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKOegEuCcfw\u003c/p>\n\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920462']The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>[aside postid='arts_13889379']“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>[aside postid='arts_13903607']Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That it all will take place as far away from %##*&! Tatooine as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Andor%27+soared+%E2%80%94+it+was+about+the+force%2C+not+The+Force%2C+of+the+Star+Wars+universe+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1186,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705006131,
"excerpt": "No lightsabers, no Jedi, no Tatooine: ‘Andor’ ditched familiar ‘Star Wars’ trappings to document the face of fascism.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "No lightsabers, no Jedi, no Tatooine: ‘Andor’ ditched familiar ‘Star Wars’ trappings to document the face of fascism.",
"title": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe",
"datePublished": "2022-11-23T10:51:57-08:00",
"dateModified": "2024-01-11T12:48:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1137826237&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 23 Nov 2022 05:00:16 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 23 Nov 2022 05:00:16 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/23/1137826237/star-wars-andor-finale?ft=nprml&f=1137826237",
"nprImageAgency": "Lucasfilm Ltd.",
"nprStoryId": "1137826237",
"nprByline": "Glen Weldon",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 23 Nov 2022 05:00:00 -0500",
"path": "/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\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 over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\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/cKOegEuCcfw'\n title='//www.youtube.com/embed/cKOegEuCcfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920462",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889379",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903607",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\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>That it all will take place as far away from %##*&! Tatooine as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Andor%27+soared+%E2%80%94+it+was+about+the+force%2C+not+The+Force%2C+of+the+Star+Wars+universe+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe",
"authors": [
"byline_arts_13921929"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_3114",
"arts_3797",
"arts_3241"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921930",
"label": "arts_137"
},
"arts_13921866": {
"type": "posts",
"id": "arts_13921866",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921866",
"score": null,
"sort": [
1669148936000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1669148936,
"format": "standard",
"title": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama",
"headTitle": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama | KQED",
"content": "\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>[aside postid='arts_13921169']For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. The family with the most points gets to play fast money, where two people need to answer rapid-fire to get enough points to win the cash prize.\u003c/p>\n\u003cp>So why \u003cem>Family Feud\u003c/em>? It’s kitschy and a bit silly — the \u003ca href=\"https://www.youtube.com/watch?v=QLSXaMibtTE\">YouTube highlights\u003c/a> never get old. It’s a game show that’s \u003cem>just\u003c/em> challenging enough. And ultimately, it’s the low-stakes drama we all need.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V_hbpLufakg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My journey started with casual viewing. I grew up in a house without cable, and there were only so many things to keep us entertained when babysitting our younger sisters. The game show hit that sweet spot when we weren’t old enough to appreciate \u003cem>Jeopardy! \u003c/em>but felt too old for cartoons (the \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\">”I’m Not A Girl, Not Yet A Woman”\u003c/a> phase.) We started when Richard Karn of \u003cem>Home Improvement\u003c/em> hosted, kept it up when \u003cem>Seinfeld’\u003c/em>s John O’Hurley took over, and we remain loyal viewers of the current Steve Harvey version. But truthfully, the host isn’t even a selling point for us — we are laser-focused on the game.\u003c/p>\n\u003cp>[aside postid='arts_13920298']The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o6gD9_akew0\u003c/p>\n\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>[aside postid='arts_13907974']But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 796,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006135,
"excerpt": "'Family Feud' is kitschy and a bit silly, but it forces me to take a step back and think about the larger human experience.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Family Feud' is kitschy and a bit silly, but it forces me to take a step back and think about the larger human experience.",
"title": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama",
"datePublished": "2022-11-22T12:28:56-08:00",
"dateModified": "2024-01-11T12:48:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "family-feud-unites-us-by-fulfilling-a-basic-human-need-low-stakes-drama",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1090067612&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 21 Nov 2022 07:00:30 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 21 Nov 2022 07:00:30 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/21/1090067612/family-feud-steve-harvey-drama?ft=nprml&f=1090067612",
"nprImageAgency": "ABC via Getty Images",
"nprStoryId": "1090067612",
"nprByline": "Arielle Retting",
"sticky": false,
"nprImageCredit": "Byron Cohen",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 21 Nov 2022 07:00:00 -0500",
"path": "/arts/13921866/family-feud-unites-us-by-fulfilling-a-basic-human-need-low-stakes-drama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921169",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. The family with the most points gets to play fast money, where two people need to answer rapid-fire to get enough points to win the cash prize.\u003c/p>\n\u003cp>So why \u003cem>Family Feud\u003c/em>? It’s kitschy and a bit silly — the \u003ca href=\"https://www.youtube.com/watch?v=QLSXaMibtTE\">YouTube highlights\u003c/a> never get old. It’s a game show that’s \u003cem>just\u003c/em> challenging enough. And ultimately, it’s the low-stakes drama we all need.\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/V_hbpLufakg'\n title='//www.youtube.com/embed/V_hbpLufakg'\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>My journey started with casual viewing. I grew up in a house without cable, and there were only so many things to keep us entertained when babysitting our younger sisters. The game show hit that sweet spot when we weren’t old enough to appreciate \u003cem>Jeopardy! \u003c/em>but felt too old for cartoons (the \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\">”I’m Not A Girl, Not Yet A Woman”\u003c/a> phase.) We started when Richard Karn of \u003cem>Home Improvement\u003c/em> hosted, kept it up when \u003cem>Seinfeld’\u003c/em>s John O’Hurley took over, and we remain loyal viewers of the current Steve Harvey version. But truthfully, the host isn’t even a selling point for us — we are laser-focused on the game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920298",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\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/o6gD9_akew0'\n title='//www.youtube.com/embed/o6gD9_akew0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13907974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921866/family-feud-unites-us-by-fulfilling-a-basic-human-need-low-stakes-drama",
"authors": [
"byline_arts_13921866"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8482",
"arts_16405",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921867",
"label": "arts_137"
},
"arts_13921777": {
"type": "posts",
"id": "arts_13921777",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921777",
"score": null,
"sort": [
1668729274000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 10778
},
"blocks": [],
"publishDate": 1668729274,
"format": "standard",
"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
"headTitle": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster’s Dominance | KQED",
"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1413,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705006144,
"excerpt": "Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.",
"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
"datePublished": "2022-11-17T15:54:34-08:00",
"dateModified": "2024-01-11T12:49:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1137465465&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 17 Nov 2022 15:57:10 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 17 Nov 2022 15:57:10 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee?ft=nprml&f=1137465465",
"nprImageAgency": "Getty Images for MTV/Paramount G",
"nprStoryId": "1137465465",
"nprByline": "Rachel Treisman",
"sticky": false,
"nprImageCredit": "Jamie McCarthy",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 Nov 2022 15:57:00 -0500",
"path": "/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13906513",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13846754",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13841293",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884673",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\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>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"authors": [
"byline_arts_13921777"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_19106",
"arts_3219",
"arts_3026",
"arts_4802"
],
"affiliates": [
"arts_10778"
],
"featImg": "arts_13921780",
"label": "arts_10778"
},
"arts_13921719": {
"type": "posts",
"id": "arts_13921719",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921719",
"score": null,
"sort": [
1668709826000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1668709826,
"format": "standard",
"title": "‘She Said’ Devastates, Infuriates and Inspires in Equal Measure",
"headTitle": "‘She Said’ Devastates, Infuriates and Inspires in Equal Measure | KQED",
"content": "\u003cp>Journalists love movies about journalism. We just do. It’s literally impossible for us not to get excited about them. \u003ca href=\"https://www.imdb.com/title/tt1895587/?ref_=nv_sr_srsg_0\">\u003cem>Spotlight\u003c/em>\u003c/a>, about \u003cem>The Boston Globe’\u003c/em>s exposure of child abuse in the Catholic Church? Brilliant. \u003ca href=\"https://www.imdb.com/title/tt0074119/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All the President’s Men\u003c/em>\u003c/a> about the Watergate scandal? Still watch it once a year. \u003ca href=\"https://www.imdb.com/title/tt6294822/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Post\u003c/em>\u003c/a>, about the Pentagon Papers? Riveting, of course!\u003c/p>\n\u003cp>Because journalists love movies about journalism, we have a tendency to give them glowing reviews, without stopping to think about how much non-journalists really want to look at them. When I came home from a \u003ca href=\"https://www.imdb.com/title/tt14807308/?ref_=fn_al_tt_1\">\u003cem>She Said\u003c/em>\u003c/a> preview, full of praise for it, my partner replied, “Yes, but how many scenes are there of people just … typing?”\u003c/p>\n\u003cp>[aside postid='arts_13921479']The answer to that is — fine, I’ll admit it — quite a few. Because \u003cem>She Said\u003c/em> is a dramatization of how \u003cem>The New York Times\u003c/em> exposed Harvey Weinstein as a serial sexual predator in 2017. It follows real-life reporters \u003ca href=\"https://en.wikipedia.org/wiki/Jodi_Kantor\">Jodi Kantor\u003c/a> (played engagingly by Zoe Kazan) and \u003ca href=\"https://en.wikipedia.org/wiki/Megan_Twohey\">Megan Twohey\u003c/a> (the always brilliant Carey Mulligan) chasing down leads and persuading an ever-growing number of traumatized survivors to talk to them.\u003c/p>\n\u003cp>That means that yes, there are scenes of journalists typing together and separately. There are scenes of multiple people clustered around a single computer screen reading and re-reading copy to make sure it’s right. There are scenes in which the journalists are legally advised about how to approach the story. There’s even a scene of on-screen copy and pasting. But try and stick with me here, because \u003cem>She Said\u003c/em> also works incredibly hard to make sure this isn’t just a movie for journalists. Its pacing is consistently urgent, deftly compressing reams of information into sharp and compelling scenes. It will succeed in surprising even the viewers who think they know this story.\u003c/p>\n\u003cp>The opening moments — some of the most powerful in all two hours and eight minutes of the film — set the tone early and hammer home exactly what the stakes are. One minute, we’re looking at a young woman joyfully working on her first movie set in Ireland, laughing with co-workers, visibly excited to start her career. Cut to: That same young woman, tears streaming down her face, facial expression of pure terror, running as fast as she can through a deserted street. We know what has happened to her, because we know this is a movie about Harvey Weinstein. Still, the juxtaposition of her before and after is so stark — so raw — I audibly gasped in the theater. It would not be the last time I did so while watching \u003cem>She Said\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5pxUQecM3Y\u003c/p>\n\u003cp>I wondered going in if it was too soon for this story to become a movie. It’s only been five years since Kantor and Twohey published their Weinstein exposé in the \u003cem>Times\u003c/em>. It’s been four since they won the Pulitzer Prize for Public Service for doing so. And it’s been three since their book \u003cem>She Said\u003c/em>, which this movie is based on, was released.\u003c/p>\n\u003cp>[aside postid='arts_13921411']However, watching \u003cem>She Said\u003c/em> in the current moment — one in which #MeToo’s momentum has been indelibly stunted by the COVID pandemic and other factors — acts as a pertinent reminder. It’s a reminder not just of the careers lost and lives derailed by this powerful man who abused with impunity; it’s also a reminder of the systems that enabled him. It’s a reminder of the structures that continue to enable sexual harassment and abuse \u003cem>everywhere\u003c/em>. More than anything, \u003cem>She Said\u003c/em> is an inspiring reminder of the collective of women who stood up to Weinstein when he assumed nobody would.\u003c/p>\n\u003cp>Three of Weinstein’s less famous accusers are depicted by actors as both their 2017 selves and in flashbacks to their younger years when they fell prey to Weinstein. It is these scenes that will most break your heart and infuriate you. (“It was like he took my voice that day,” we hear one despair, “just when I was about to start finding it.”) You’ll also marvel at the inner strength and dogged determination of Kantor and Twohey as they collect Weinstein horror story after Weinstein horror story, unsure if they’ll ever even be able to share them with the public.\u003c/p>\n\u003cp>Part of \u003cem>She Said\u003c/em>’s success lies in the movie’s blending of the real and the recreated. Ashley Judd appears as herself, reenacting the interviews she conducted with Kantor. The now-\u003ca href=\"https://www.youtube.com/watch?v=wEu7quzUsDk\" target=\"_blank\" rel=\"noopener noreferrer\">infamous real audio of Weinstein\u003c/a> bullying — and admitting to groping — Ambra Battilana is played over footage of an eerily empty hotel hallway. We don’t see Gwyneth Paltrow or Rose McGowan, but we hear convincing impersonations of them on phone calls. A body double viewed only from behind is used to depict Harvey Weinstein’s visit to \u003cem>The New York Times\u003c/em> office, a move recalled as one of his many intimidation tactics. The choice to feature all of these very famous figures primarily off-screen — thereby avoiding the potential for distracting imitations — is a smart one that keeps the narrative on track.\u003c/p>\n\u003cp>In its promotional materials, \u003cem>She Said\u003c/em> has utilized appearances from the real women behind the story. One of them is Laura Madden, the woman depicted in \u003cem>She Said\u003c/em>’s devastating opening scenes. “He did this to all these women,” Madden recalls now, “and I felt sad for myself that that young girl had taken the blame for it.” For the women involved, \u003cem>She Said\u003c/em> is undoubtedly another step on the path to healing. For everyone else, it is one of this year’s must-see movies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘She Said’ opens in theaters on Friday, Nov. 18.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1005,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006149,
"excerpt": "This searing dramatization of journalists Jodi Kantor and Megan Twohey’s exposé of Harvey Weinstein is a must-see.",
"headData": {
"twImgId": "",
"twTitle": "‘She Said’ Devastates, Infuriates and Inspires in Equal Measure",
"socialTitle": "Review: ‘She Said’ Honors the Women Who Took Down Weinstein %%page%% %%sep%% KQED",
"ogTitle": "‘She Said’ Devastates, Infuriates and Inspires in Equal Measure",
"ogImgId": "",
"twDescription": "",
"description": "This searing dramatization of journalists Jodi Kantor and Megan Twohey’s exposé of Harvey Weinstein is a must-see.",
"title": "Review: ‘She Said’ Honors the Women Who Took Down Weinstein | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘She Said’ Devastates, Infuriates and Inspires in Equal Measure",
"datePublished": "2022-11-17T10:30:26-08:00",
"dateModified": "2024-01-11T12:49:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "she-said-harvey-weinstein-metoo-new-york-times-kantor-twohey-journalists",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921719/she-said-harvey-weinstein-metoo-new-york-times-kantor-twohey-journalists",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalists love movies about journalism. We just do. It’s literally impossible for us not to get excited about them. \u003ca href=\"https://www.imdb.com/title/tt1895587/?ref_=nv_sr_srsg_0\">\u003cem>Spotlight\u003c/em>\u003c/a>, about \u003cem>The Boston Globe’\u003c/em>s exposure of child abuse in the Catholic Church? Brilliant. \u003ca href=\"https://www.imdb.com/title/tt0074119/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All the President’s Men\u003c/em>\u003c/a> about the Watergate scandal? Still watch it once a year. \u003ca href=\"https://www.imdb.com/title/tt6294822/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Post\u003c/em>\u003c/a>, about the Pentagon Papers? Riveting, of course!\u003c/p>\n\u003cp>Because journalists love movies about journalism, we have a tendency to give them glowing reviews, without stopping to think about how much non-journalists really want to look at them. When I came home from a \u003ca href=\"https://www.imdb.com/title/tt14807308/?ref_=fn_al_tt_1\">\u003cem>She Said\u003c/em>\u003c/a> preview, full of praise for it, my partner replied, “Yes, but how many scenes are there of people just … typing?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921479",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The answer to that is — fine, I’ll admit it — quite a few. Because \u003cem>She Said\u003c/em> is a dramatization of how \u003cem>The New York Times\u003c/em> exposed Harvey Weinstein as a serial sexual predator in 2017. It follows real-life reporters \u003ca href=\"https://en.wikipedia.org/wiki/Jodi_Kantor\">Jodi Kantor\u003c/a> (played engagingly by Zoe Kazan) and \u003ca href=\"https://en.wikipedia.org/wiki/Megan_Twohey\">Megan Twohey\u003c/a> (the always brilliant Carey Mulligan) chasing down leads and persuading an ever-growing number of traumatized survivors to talk to them.\u003c/p>\n\u003cp>That means that yes, there are scenes of journalists typing together and separately. There are scenes of multiple people clustered around a single computer screen reading and re-reading copy to make sure it’s right. There are scenes in which the journalists are legally advised about how to approach the story. There’s even a scene of on-screen copy and pasting. But try and stick with me here, because \u003cem>She Said\u003c/em> also works incredibly hard to make sure this isn’t just a movie for journalists. Its pacing is consistently urgent, deftly compressing reams of information into sharp and compelling scenes. It will succeed in surprising even the viewers who think they know this story.\u003c/p>\n\u003cp>The opening moments — some of the most powerful in all two hours and eight minutes of the film — set the tone early and hammer home exactly what the stakes are. One minute, we’re looking at a young woman joyfully working on her first movie set in Ireland, laughing with co-workers, visibly excited to start her career. Cut to: That same young woman, tears streaming down her face, facial expression of pure terror, running as fast as she can through a deserted street. We know what has happened to her, because we know this is a movie about Harvey Weinstein. Still, the juxtaposition of her before and after is so stark — so raw — I audibly gasped in the theater. It would not be the last time I did so while watching \u003cem>She Said\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i5pxUQecM3Y'\n title='//www.youtube.com/embed/i5pxUQecM3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wondered going in if it was too soon for this story to become a movie. It’s only been five years since Kantor and Twohey published their Weinstein exposé in the \u003cem>Times\u003c/em>. It’s been four since they won the Pulitzer Prize for Public Service for doing so. And it’s been three since their book \u003cem>She Said\u003c/em>, which this movie is based on, was released.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921411",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>However, watching \u003cem>She Said\u003c/em> in the current moment — one in which #MeToo’s momentum has been indelibly stunted by the COVID pandemic and other factors — acts as a pertinent reminder. It’s a reminder not just of the careers lost and lives derailed by this powerful man who abused with impunity; it’s also a reminder of the systems that enabled him. It’s a reminder of the structures that continue to enable sexual harassment and abuse \u003cem>everywhere\u003c/em>. More than anything, \u003cem>She Said\u003c/em> is an inspiring reminder of the collective of women who stood up to Weinstein when he assumed nobody would.\u003c/p>\n\u003cp>Three of Weinstein’s less famous accusers are depicted by actors as both their 2017 selves and in flashbacks to their younger years when they fell prey to Weinstein. It is these scenes that will most break your heart and infuriate you. (“It was like he took my voice that day,” we hear one despair, “just when I was about to start finding it.”) You’ll also marvel at the inner strength and dogged determination of Kantor and Twohey as they collect Weinstein horror story after Weinstein horror story, unsure if they’ll ever even be able to share them with the public.\u003c/p>\n\u003cp>Part of \u003cem>She Said\u003c/em>’s success lies in the movie’s blending of the real and the recreated. Ashley Judd appears as herself, reenacting the interviews she conducted with Kantor. The now-\u003ca href=\"https://www.youtube.com/watch?v=wEu7quzUsDk\" target=\"_blank\" rel=\"noopener noreferrer\">infamous real audio of Weinstein\u003c/a> bullying — and admitting to groping — Ambra Battilana is played over footage of an eerily empty hotel hallway. We don’t see Gwyneth Paltrow or Rose McGowan, but we hear convincing impersonations of them on phone calls. A body double viewed only from behind is used to depict Harvey Weinstein’s visit to \u003cem>The New York Times\u003c/em> office, a move recalled as one of his many intimidation tactics. The choice to feature all of these very famous figures primarily off-screen — thereby avoiding the potential for distracting imitations — is a smart one that keeps the narrative on track.\u003c/p>\n\u003cp>In its promotional materials, \u003cem>She Said\u003c/em> has utilized appearances from the real women behind the story. One of them is Laura Madden, the woman depicted in \u003cem>She Said\u003c/em>’s devastating opening scenes. “He did this to all these women,” Madden recalls now, “and I felt sad for myself that that young girl had taken the blame for it.” For the women involved, \u003cem>She Said\u003c/em> is undoubtedly another step on the path to healing. For everyone else, it is one of this year’s must-see movies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘She Said’ opens in theaters on Friday, Nov. 18.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921719/she-said-harvey-weinstein-metoo-new-york-times-kantor-twohey-journalists",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_2798",
"arts_11323",
"arts_10278",
"arts_977",
"arts_2777",
"arts_6125",
"arts_2775"
],
"featImg": "arts_13921730",
"label": "arts_140"
},
"arts_13921642": {
"type": "posts",
"id": "arts_13921642",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921642",
"score": null,
"sort": [
1668557358000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1668557358,
"format": "standard",
"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
"headTitle": "Beyoncé Leads Nominations for the 2023 Grammy Awards | KQED",
"content": "\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>[aside postid='arts_13916796']Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 311,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705006157,
"excerpt": "This year's nominations are in and there are few surprises.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year's nominations are in and there are few surprises.",
"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
"datePublished": "2022-11-15T16:09:18-08:00",
"dateModified": "2024-01-11T12:49:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beyonce-leads-nominations-for-the-2023-grammy-awards",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1136765793&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 15 Nov 2022 15:26:06 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 15 Nov 2022 16:27:13 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/15/1136765793/beyonce-leads-2023-grammy-award-nominations?ft=nprml&f=1136765793",
"nprImageAgency": "A.M.P.A.S. via Getty Images",
"nprStoryId": "1136765793",
"nprByline": "Mandalit del Barco",
"sticky": false,
"nprImageCredit": "Mason Poole",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 15 Nov 2022 16:27:00 -0500",
"path": "/arts/13921642/beyonce-leads-nominations-for-the-2023-grammy-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13916796",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\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>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921642/beyonce-leads-nominations-for-the-2023-grammy-awards",
"authors": [
"byline_arts_13921642"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1686",
"arts_977",
"arts_1685",
"arts_9669",
"arts_3070",
"arts_1774",
"arts_19073"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921643",
"label": "arts_137"
},
"arts_13921616": {
"type": "posts",
"id": "arts_13921616",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921616",
"score": null,
"sort": [
1668539546000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1668539546,
"format": "standard",
"title": "Steve Jobs' Worn-Out Birkenstocks Sell for $218,000 at Auction",
"headTitle": "Steve Jobs’ Worn-Out Birkenstocks Sell for $218,000 at Auction | KQED",
"content": "\u003cp>Sandals worn by \u003ca href=\"https://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\">Steve Jobs\u003c/a> in the early days of Apple sold for $218,750 at an auction in New York City on Sunday.\u003c/p>\n\u003cp>The brown suede Birkenstock Arizonas were worn by Jobs in the 1970s and 1980s during “many pivotal moments in Apple’s history,” according to the auction house.\u003c/p>\n\u003cp>[aside postid='arts_13886943']It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The winning bidder did not want their name disclosed, but it was sold in the room at the Hard Rock Cafe in Times Square, according to Nolan. The runner-up bid was from a potential buyer in China.\u003c/p>\n\u003cp>This is far from the most someone has paid for footwear at auction.\u003c/p>\n\u003cp>Nike Air Ships worn by Michael Jordan in 1984 sold for \u003ca href=\"https://www.npr.org/2021/10/25/1049009323/michael-jordan-shoes-sneakers-auction\">$1.47 million a year ago\u003c/a>. Black Nikes worn by Kanye West at the 2008 Grammys \u003ca href=\"https://news.artnet.com/art-world/kanye-west-sneakers-sell-sothebys-1961885\">sold for $1.8 million\u003c/a> last year as well.\u003c/p>\n\u003cp>[aside postid='arts_13898598']The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 309,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006159,
"excerpt": "Steve Jobs wore the sandals during the early days of Apple in the 1970s and '80s. It's a record price for a pair of sandals.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Steve Jobs wore the sandals during the early days of Apple in the 1970s and '80s. It's a record price for a pair of sandals.",
"title": "Steve Jobs' Worn-Out Birkenstocks Sell for $218,000 at Auction | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Steve Jobs' Worn-Out Birkenstocks Sell for $218,000 at Auction",
"datePublished": "2022-11-15T11:12:26-08:00",
"dateModified": "2024-01-11T12:49:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "steve-jobs-worn-out-birkenstocks-sell-for-218000-at-auction",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1136637908&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 15 Nov 2022 05:10:48 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 15 Nov 2022 05:10:48 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/15/1136637908/steve-jobs-auction-sandals-birkenstocks-apple?ft=nprml&f=1136637908",
"nprImageAgency": "Julien's Auctions",
"nprStoryId": "1136637908",
"nprByline": "James Doubek",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 15 Nov 2022 05:10:00 -0500",
"path": "/arts/13921616/steve-jobs-worn-out-birkenstocks-sell-for-218000-at-auction",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sandals worn by \u003ca href=\"https://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\">Steve Jobs\u003c/a> in the early days of Apple sold for $218,750 at an auction in New York City on Sunday.\u003c/p>\n\u003cp>The brown suede Birkenstock Arizonas were worn by Jobs in the 1970s and 1980s during “many pivotal moments in Apple’s history,” according to the auction house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13886943",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\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 winning bidder did not want their name disclosed, but it was sold in the room at the Hard Rock Cafe in Times Square, according to Nolan. The runner-up bid was from a potential buyer in China.\u003c/p>\n\u003cp>This is far from the most someone has paid for footwear at auction.\u003c/p>\n\u003cp>Nike Air Ships worn by Michael Jordan in 1984 sold for \u003ca href=\"https://www.npr.org/2021/10/25/1049009323/michael-jordan-shoes-sneakers-auction\">$1.47 million a year ago\u003c/a>. Black Nikes worn by Kanye West at the 2008 Grammys \u003ca href=\"https://news.artnet.com/art-world/kanye-west-sneakers-sell-sothebys-1961885\">sold for $1.8 million\u003c/a> last year as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13898598",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921616/steve-jobs-worn-out-birkenstocks-sell-for-218000-at-auction",
"authors": [
"byline_arts_13921616"
],
"categories": [
"arts_1",
"arts_235",
"arts_75"
],
"tags": [
"arts_3397",
"arts_10744",
"arts_1935"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921617",
"label": "arts_137"
},
"arts_13921477": {
"type": "posts",
"id": "arts_13921477",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921477",
"score": null,
"sort": [
1668117301000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1668117301,
"format": "standard",
"title": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis",
"headTitle": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis | KQED",
"content": "\u003cp>You know \u003ca href=\"https://giphy.com/clips/justin-tyra-banks-rooting-for-you-EghhnKjTtyVWCTVM64\" rel=\"noopener noreferrer\">that gif of Tyra Banks\u003c/a> yelling “I was rooting for you! We were all rooting for you!”? I have a theory that the reason it’s still in such heavy rotation is that we need it every time Lindsay Lohan does A Thing.\u003c/p>\n\u003cp>That reality show based on \u003ca href=\"https://www.kqed.org/pop/104384/cancel-your-summer-plans-lindsay-lohan-has-a-beach-resort-in-greece-now\">Lohan’s Greek beach resort\u003c/a>, which was a lot like watching an ungodly mash-up of \u003cem>The Apprentice\u003c/em> and \u003cem>Love Island?\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/91507/why-lindsay-lohans-i-know-who-killed-me-should-be-a-cult-favorite\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a>, a movie in which body parts literally start falling off Lohan’s main character because she has a secret twin who’s losing limbs elsewhere?\u003c/p>\n\u003cp>That super low-budget 2018 werewolf (yes, \u003cem>werewolf\u003c/em>) movie Lohan made, called \u003ca href=\"https://www.youtube.com/watch?v=wvALu6kj6lo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Among the Shadows\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>All deserve a Tyra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921481 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy.gif\" alt=\"\" width=\"500\" height=\"303\">\u003c/p>\n\u003cp>And yet, like so many other optimistic humans, I just keep returning to the Land o’ Lohan in the hope that one day — \u003cem>someday\u003c/em> — she gets her life and career back on track. (Damn you, \u003cem>Mean Girls\u003c/em>, for keeping us here!)\u003c/p>\n\u003cp>Lohan’s latest attempt at doing something worth watching is a new Netflix movie titled \u003cem>Falling for Christmas\u003c/em>. It is one of the approximately 8,500 seasonal movies that will come out this year and, having landed Nov. 10, it’s one of the earliest.\u003c/p>\n\u003cp>I’m here to watch it, so you don’t have to. (Oh, and I am going to tell you literally everything, so consider this your spoiler alert.)\u003c/p>\n\u003cp>0:50: Lindsay Lohan is Sierra Belmont. We know she’s terrible because she wears a padded eye mask in bed which, in movieland, as we all know, is the universal signifier for Mean Rich Lady.\u003c/p>\n\u003cfigure id=\"attachment_13921496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eye-Mask-800x497.png\" alt=\"A woman lying on silky white pillows, under a duvet, wearing a red nightgown and a white eye mask.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1920x1193.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask.png 1932w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rom-Com Rule #1: If you wear an eye mask anywhere other than a plane, you are a terrible person. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:05: Opening credit montage of annoying fancy people at a Rich People Ski Resort. We know they’re annoying rich people because they’re all wearing fluorescent colors and an air of self-entitlement.\u003c/p>\n\u003cp>2:21: Sierra is conducting a tightly packed exposition scene over the phone with a Sexually Ambiguous British Man. This is Tad, her boyfriend (surprise!), and a person that refers to himself as “one of Hype magazine’s top social influencers.” Sierra is a hotel heiress who doesn’t want to work for her dad. This movie is going to be rough.\u003c/p>\n\u003cp>3:00 Mid-phone convo, a four-person “glam squad” and a personal assistant named Terry — who is a 1990s stereotype of a Professional Gay Man — arrive at Sierra’s hotel room and start feeding her champagne and caviar while she complains about the fact that people think she’s spoiled. This movie is not subtle on any level.\u003c/p>\n\u003cfigure id=\"attachment_13921502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png\" alt=\"A man with neat fair hair, wearing a suit jacket, looks stunned.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype.png 1714w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry: Woulda been perfect on ‘Will and Grace.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>4:30: A skiing man does a series of little jumps on the slopes. We know he’s a Good (Probably Poor) Person because his clothes are muted colors and he is being soundtracked by jaunty music.\u003c/p>\n\u003cp>[aside postid='arts_13922004']4:50: Good Poor Person Man is named Jake. He is trying to talk to Sierra’s father because he needs an investor for his Regular People Ski Lodge, which is not doing so well. Then the two race each other downhill because that is absolutely how people do business at ski resorts.\u003c/p>\n\u003cp>5:19: Jake will not stop doing little unnecessary ski jumps. Please fall over, please fall over, please fall over.\u003c/p>\n\u003cp>8:50: Jake lives inside a snow globe from your Aunt Jackie’s Christmas decorations with a horse named Balthazar, an adorable grandmother and a daughter who grins constantly like she’s in a seasonal Macy’s commercial.\u003c/p>\n\u003cfigure id=\"attachment_13921501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Snow-globe-800x445.png\" alt=\"A mountain lodge, surrounded by snowy mountains.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1920x1069.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The snow globe that Jake lives in. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>13:45: Tad says the phrase “Gondolas are for losers” and dear god in heaven, how will I ever get through this movie?\u003c/p>\n\u003cp>14:15: Sierra starts singing along to “\u003ca href=\"https://www.rollingstone.com/music/music-news/lindsay-lohan-jingle-bell-rock-netflix-film-1234624531/\">Jingle Bell Rock\u003c/a>” in Tad’s car, because she just released that single, so let’s get that shoehorned in.\u003c/p>\n\u003cp>15:11: Back in Aunt Jackie’s snow globe, Jake is taking a couple from an Old Navy commercial on a sleigh ride.\u003c/p>\n\u003cp>17:33: Tad takes Sierra to the top of a mountain to propose. Sierra is dressed in a pink version of the Bride’s yellow and black jumpsuit from \u003cem>Kill Bill\u003c/em> so, frankly, who can blame him?\u003c/p>\n\u003cfigure id=\"attachment_13921503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png\" alt=\"A woman in a fluorescent pink ski suit with black details stands on skis on a mountaintop. A man in a black and white checkered jacket knees before her.\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1536x1052.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal.png 1618w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a ‘Kill Bill’ ski suit, for crying out loud! He’d be crazy not to put a ring on it! \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18:33: Jake’s perpetually-grinning child writes down a wish and hangs it on a tree at the local Christmas market. A creepazoid Santa look-a-like sees this, grins eerily and the wish flies up into the air and directly into a snowstorm. Said snowstorm hits Sierra and she falls off the side of the mountain. I am exhausted already.\u003c/p>\n\u003cp>19:35: I have a sneaking suspicion that this movie is about to turn into the Goldie Hawn-starring \u003ca href=\"https://www.youtube.com/watch?v=HH6OuDYKWNE\" target=\"_blank\" rel=\"noopener noreferrer\">1987 romantic comedy, \u003c/a>\u003cem>Overboard, \u003c/em>in which a Mean Rich Lady (she too wears an eye mask to bed) has an accident, loses her memory, then learns to be a good person by doing chores for A Working Man.\u003c/p>\n\u003cp>21:31: This movie just turned into \u003cem>Overboard\u003c/em>. This is the part where Goldie Hawn wakes up at the hospital and can’t remember who she is or what happened to her, but she’s enough of herself that she’s still awful to everyone who’s trying to help her and they can’t wait to get rid of her. Insert: Lindsay Lohan and a slightly more diverse cast.\u003c/p>\n\u003cfigure id=\"attachment_13921506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png\" alt=\"A woman sits up in bed with a bandage on her head. She is talking to a female doctor and a sheriff. There is a wreath hanging behind the hospital bed.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM.png 1780w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">May your hair look this flawless should you ever fall off a mountain and collide with a tree. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23:23: Jake — who discovered Sierra while out on his Old Navy sleigh ride — volunteers to take her back to the snow globe until they can figure out who she is. (Dude. Giving away free hotel rooms to strangers might be why your business is failing.)\u003c/p>\n\u003cp>25:03: Sierra has arrived at Jake’s lodge wearing festive hospital scrubs and no head bandage, because those evaporate the second you leave the hospital. The Grinning Child spots Sierra and does some grinning. Danny from \u003cem>The Shining\u003c/em> just popped into my head and I can’t be sure why…\u003c/p>\n\u003cfigure id=\"attachment_13921507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png\" alt=\"An adorable child with dark curly hair smiles broadly.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child.png 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Redrum, kid. Redrum. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>25:15: Sierra has a huge, fully decorated Christmas tree in her gigantic room. (Jake, man, we really need to talk about how much your struggling lodge is wasting on excessive Christmas decorations…)\u003c/p>\n\u003cp>[aside postid='arts_13890718']28:52: Sierra wakes up with a sock over her eyes and accidentally turns on the TV, so we can all catch a glimpse of another Netflix Christmas movie that the channel apparently needs to promote in the middle of \u003cem>this\u003c/em> Christmas movie. For shame, Netflix. For shame.\u003c/p>\n\u003cp>29:32: Sierra just used a crappy portable hairdryer to dry her long flowing hair and, holy crap, that must’ve taken two and a half hours.\u003c/p>\n\u003cp>31:03: Old Navy couple runs into Sierra and the Grinning Child. I am unclear what their role is in this movie but they keep showing up and doing nothing.\u003c/p>\n\u003cfigure id=\"attachment_13921509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png\" alt=\"A man driving a sleigh looks into the distance, shocked, while a white blond woman and a handsome Black man gaze at each other adoringly in the back of the sleigh.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-2048x1341.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1920x1257.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Can we please talk about how Old Navy these hotel guests are? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34:56: Tad, who got lost in the mountains, has found a small cabin with a bearded Ice Fisherman in it. Their weird sexual tension is finally giving me a reason to finish this movie.\u003c/p>\n\u003cp>35:01: Jake’s crappy customers keep calling and canceling because they’re staying at Airbnbs instead. “We can’t even afford a housekeeper!” Jake despairs. Cue Sierra taking up the task, because this movie is \u003cem>Overboard, \u003c/em>albeit without the humor and the electric sexual chemistry.\u003c/p>\n\u003cfigure id=\"attachment_13921510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Bed-Making-800x508.png\" alt=\"A woman lies on a bed, stretched out on top of a fitted sheet that's clinging to her.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sierra: A grown-ass human who doesn’t know how to put a sheet on a bed. This is supposed to be funny, I think? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>37:54: It’s not my imagination. Tad and the Ice Fisherman have a full blown \u003cem>vibe\u003c/em>. They’re wrestling in the snow. ”You’re so strong,” Tad says, followed by a series of sex noises. I’m really rooting for these two.\u003c/p>\n\u003cp>40:05: Sierra goes outside and tells all of her feelings to Balthazar the horse like he’s Mr. Ed.\u003c/p>\n\u003cp>43:48: Sierra, Jake and the Grinning Child are at the local Christmas market where Creepy Santa is showing them all a sleigh Jake can’t afford.\u003c/p>\n\u003cfigure id=\"attachment_13921511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Trio-at-Market-800x508.png\" alt=\"A woman, man and child all wearing winter clothes and hats, stand together smiling. \" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1536x976.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market.png 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The only direction given to this child for the entirety of this movie was ‘smile broadly.’ It is unnerving. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>47:16: Despite wearing that beanie all damn night, when the trio get home from the market, Jake’s hair looks like this.\u003c/p>\n\u003cfigure id=\"attachment_13921512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jake-hair-800x493.png\" alt=\"A white man with perfectly coiffed hair smiles.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stop it. Just stop it. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48:32: Sierra figures out how to make a bed and flip a pancake, so she is A Good Person now. This Grinning Child situation is gonna finish me.\u003c/p>\n\u003cp>49:23: Sierra, Jake and the Grinning Child are singing songs and decorating gingerbread houses and skiing and dear god man, haven’t you got a business to save?\u003c/p>\n\u003cfigure id=\"attachment_13921519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/popcorn-fight-800x461.png\" alt=\"A young girl and a woman flinch and laugh as they throw popcorn.\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1536x885.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-2048x1180.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1920x1106.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What do you do when you’re about to lose your business and home? Have a popcorn fight with these two, apparently. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>50:28: Old Navy Couple just checked out of the lodge and who will sit in the background now?\u003c/p>\n\u003cp>[aside postid='arts_13889581']55:47: Sierra and Jake almost kiss, then don’t and all I can think about is Tad and the Ice Fisherman, who are probably at third base by now.\u003c/p>\n\u003cp>56:56: Sierra tells Jake’s grandmother and the Grinning Child that she’s figured out how to save Jake’s lodge: a party/fundraiser. Grandma, who gave the lodge to Jake and her (now deceased) daughter as a wedding gift, helpfully provides Sierra with “every contact for every guest from the last three decades,” like all those old-timey landlines are still going to work just fine. Thanks Grandma.\u003c/p>\n\u003cp>1:00:00: This small lodge has more Christmas decorations than the Union Square Macy’s windows on Dec. 24 and I have so many questions about Jake’s budgeting abilities.\u003c/p>\n\u003cfigure id=\"attachment_13921513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/excessive-decorations-800x500.png\" alt=\"A hallway with rooms visible down the hall, all very thoroughly decorated with lights and green festive decorations.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1536x960.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1920x1200.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations.png 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jake’s lodge: The answer to the question, ‘How many Christmas decorations is too many Christmas decorations?’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:02:02: Montage of invitation-printing and Christmas Eve party-planning. This movie is 12 hours long, I swear to god.\u003c/p>\n\u003cp>1:02:43: Tad and the Ice Fisherman are around a campfire eating beans. The sexual tension is thicker than the snow.\u003c/p>\n\u003cp>1:04:24: Sierra’s dad gets back from a business trip, discovers she’s disappeared, and declares his intention to get the sheriff involved. It’s hard to care about any of it because I just realized that Sierra’s dad has the middle-aged man version of Jake’s haircut and, um, that seems weird.\u003c/p>\n\u003cfigure id=\"attachment_13921514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png\" alt=\"An attractive older man wearing a white shirt and tie and black winter coat, looks concerned.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1536x944.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1920x1179.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Why does Sierra’s dad have the same hair as her love interest? You know what? Nevermind. That’s a question for her therapist. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:06:00: The sheriff finds Tad and the Ice Fisherman and brings them in for “poaching on government land.” Tad defends his mountain man in the sheriff’s office. If these two don’t make out soon, I’m going to toss my laptop through a window.\u003c/p>\n\u003cp>1:08:02: Sierra walks down some stairs wearing a red dress and everyone gasps and you already know this scene because it’s in literally every romantic comedy ever made.\u003c/p>\n\u003cfigure id=\"attachment_13921515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png\" alt=\"Lindsay Lohan wearing a red dress, walking down some stairs, Christmas decorations all around her.\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1020x603.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-768x454.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1536x908.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations.png 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If it weren’t for the excessive Christmas decoration, I’d assume this was Rachael Leigh Cook in ‘She’s All That.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:10:09: Party is in full swing and everyone is smiling like the Grinning Child. Random people keep giving Jake checks for all the free crap he’s done for them over the years. Literally everyone is donating by check. Is Jake’s ski lodge a portal back to the 1970s?\u003c/p>\n\u003cp>1:14:17: Sierra’s dad and Tad run into the party, she remembers everything and unceremoniously bolts despite the objections of Grinning Child, who has finally stopped grinning. Sweet relief!\u003c/p>\n\u003cp>1:16:39: Grossly unnecessary montage of all of the things we’ve literally just spent the last hour watching Sierra and Jake doing together. Give me strength.\u003c/p>\n\u003cp>[aside postid='arts_13889748']1:18:30: Sierra is in the kitchen hanging out with the hotel staff making pancakes. This scene was much better when it was in \u003cem>Overboard\u003c/em> because in that version there was tequila.\u003c/p>\n\u003cp>1:19:11: Sierra holds a press conference on Christmas morning because journalists definitely don’t have anything better to do that day. She shouts out Jake and recommends the lodge to all of the people watching a stupid heiress press conference on Christmas morning.\u003c/p>\n\u003cp>1:20:51: Grinning Child insists Jake tell Sierra how he feels about her, and the two take Creepy Santa’s sleigh (which is magically waiting for them outside the lodge — don’t ask questions) over to Sierra’s dad’s fancy resort.\u003c/p>\n\u003cp>1:23:04: Sierra tells her dad she needs to make her own way in the world. He replies “I promised your mother I’d take care of you. Looks like you’re starting to take care of yourself.” IF YOU MAKE A PANCAKE IN FRONT OF YOUR DAD THAT’S MAKING YOUR WAY IN THE WORLD NOW.\u003c/p>\n\u003cp>1:24:19: The lodge’s phone won’t stop ringing because of Sierra Belmont’s fans booking rooms. On Christmas Day. Grandma deals with it because she is the only glue holding this lodge together.\u003c/p>\n\u003cp>1:25:10: Sierra breaks up with Tad. Go find the Ice Fisherman, Tad!\u003c/p>\n\u003cfigure id=\"attachment_13921518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png\" alt=\"A handsome white man with very styled dark hair looks fondly at someone, tilting his head.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1020x706.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tad, a sexually ambiguous British man in need of some fisherman love.\u003c/figcaption>\u003c/figure>\n\u003cp>1:26:06: Tad invites the 1990s Gay Stereotype to spend New Year’s with him. It’s not quite what I wanted, but it’ll do!\u003c/p>\n\u003cp>1:26:51: Creepy Santa shows up and directs Jake to where Sierra is in the hotel. Haven’t you got children to spy on, Creepy Santa?\u003c/p>\n\u003cp>1:28:28: Sierra says her dad wants to invest in Jake’s lodge and that she will work there too. Instead of discussing contracts or the fact that Sierra basically just invited herself to move in with Jake after he’s known her for one week, they kiss finally and, meh, it’s not really worth all the build-up to be honest.\u003c/p>\n\u003cp>1:28:52: Sierra’s dad walks in with Grinning Child. “What a Christmas, you guys,” Jake says. “Yeah, it’s one I’ll never forget,” says Sierra. Massive groan.\u003c/p>\n\u003cp>1:29:49: It’s over! It’s finally over!\u003c/p>\n\u003cp>1:29:54: Wait. No. There’s a blooper reel.\u003c/p>\n\u003cp>1:33:45: \u003cem>Now\u003c/em> it’s finally over! Lindsay Lohan doesn’t get a Tyra gif for this one, but she can definitely have this instead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921516 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.netflix.com/search?q=falling%20for%20christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Falling for Christmas\u003c/a>‘ is streaming now, on Netflix.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2642,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 68
},
"modified": 1705006166,
"excerpt": "An heiress with amnesia, excessive Christmas decorations and a Creepy Santa. Must be early November on Netflix!",
"headData": {
"twImgId": "",
"twTitle": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis",
"socialTitle": "Review: Lindsay Lohan's 'Falling for Christmas' on Netflix %%page%% %%sep%% KQED",
"ogTitle": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis",
"ogImgId": "",
"twDescription": "",
"description": "An heiress with amnesia, excessive Christmas decorations and a Creepy Santa. Must be early November on Netflix!",
"title": "Review: Lindsay Lohan's 'Falling for Christmas' on Netflix | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis",
"datePublished": "2022-11-10T13:55:01-08:00",
"dateModified": "2024-01-11T12:49:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lindsay-lohan-christmas-movie-netflix-falling-for-christmas",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know \u003ca href=\"https://giphy.com/clips/justin-tyra-banks-rooting-for-you-EghhnKjTtyVWCTVM64\" rel=\"noopener noreferrer\">that gif of Tyra Banks\u003c/a> yelling “I was rooting for you! We were all rooting for you!”? I have a theory that the reason it’s still in such heavy rotation is that we need it every time Lindsay Lohan does A Thing.\u003c/p>\n\u003cp>That reality show based on \u003ca href=\"https://www.kqed.org/pop/104384/cancel-your-summer-plans-lindsay-lohan-has-a-beach-resort-in-greece-now\">Lohan’s Greek beach resort\u003c/a>, which was a lot like watching an ungodly mash-up of \u003cem>The Apprentice\u003c/em> and \u003cem>Love Island?\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/91507/why-lindsay-lohans-i-know-who-killed-me-should-be-a-cult-favorite\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a>, a movie in which body parts literally start falling off Lohan’s main character because she has a secret twin who’s losing limbs elsewhere?\u003c/p>\n\u003cp>That super low-budget 2018 werewolf (yes, \u003cem>werewolf\u003c/em>) movie Lohan made, called \u003ca href=\"https://www.youtube.com/watch?v=wvALu6kj6lo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Among the Shadows\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>All deserve a Tyra.\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921481 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy.gif\" alt=\"\" width=\"500\" height=\"303\">\u003c/p>\n\u003cp>And yet, like so many other optimistic humans, I just keep returning to the Land o’ Lohan in the hope that one day — \u003cem>someday\u003c/em> — she gets her life and career back on track. (Damn you, \u003cem>Mean Girls\u003c/em>, for keeping us here!)\u003c/p>\n\u003cp>Lohan’s latest attempt at doing something worth watching is a new Netflix movie titled \u003cem>Falling for Christmas\u003c/em>. It is one of the approximately 8,500 seasonal movies that will come out this year and, having landed Nov. 10, it’s one of the earliest.\u003c/p>\n\u003cp>I’m here to watch it, so you don’t have to. (Oh, and I am going to tell you literally everything, so consider this your spoiler alert.)\u003c/p>\n\u003cp>0:50: Lindsay Lohan is Sierra Belmont. We know she’s terrible because she wears a padded eye mask in bed which, in movieland, as we all know, is the universal signifier for Mean Rich Lady.\u003c/p>\n\u003cfigure id=\"attachment_13921496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eye-Mask-800x497.png\" alt=\"A woman lying on silky white pillows, under a duvet, wearing a red nightgown and a white eye mask.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1920x1193.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask.png 1932w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rom-Com Rule #1: If you wear an eye mask anywhere other than a plane, you are a terrible person. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:05: Opening credit montage of annoying fancy people at a Rich People Ski Resort. We know they’re annoying rich people because they’re all wearing fluorescent colors and an air of self-entitlement.\u003c/p>\n\u003cp>2:21: Sierra is conducting a tightly packed exposition scene over the phone with a Sexually Ambiguous British Man. This is Tad, her boyfriend (surprise!), and a person that refers to himself as “one of Hype magazine’s top social influencers.” Sierra is a hotel heiress who doesn’t want to work for her dad. This movie is going to be rough.\u003c/p>\n\u003cp>3:00 Mid-phone convo, a four-person “glam squad” and a personal assistant named Terry — who is a 1990s stereotype of a Professional Gay Man — arrive at Sierra’s hotel room and start feeding her champagne and caviar while she complains about the fact that people think she’s spoiled. This movie is not subtle on any level.\u003c/p>\n\u003cfigure id=\"attachment_13921502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png\" alt=\"A man with neat fair hair, wearing a suit jacket, looks stunned.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype.png 1714w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry: Woulda been perfect on ‘Will and Grace.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>4:30: A skiing man does a series of little jumps on the slopes. We know he’s a Good (Probably Poor) Person because his clothes are muted colors and he is being soundtracked by jaunty music.\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>4:50: Good Poor Person Man is named Jake. He is trying to talk to Sierra’s father because he needs an investor for his Regular People Ski Lodge, which is not doing so well. Then the two race each other downhill because that is absolutely how people do business at ski resorts.\u003c/p>\n\u003cp>5:19: Jake will not stop doing little unnecessary ski jumps. Please fall over, please fall over, please fall over.\u003c/p>\n\u003cp>8:50: Jake lives inside a snow globe from your Aunt Jackie’s Christmas decorations with a horse named Balthazar, an adorable grandmother and a daughter who grins constantly like she’s in a seasonal Macy’s commercial.\u003c/p>\n\u003cfigure id=\"attachment_13921501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Snow-globe-800x445.png\" alt=\"A mountain lodge, surrounded by snowy mountains.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1920x1069.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The snow globe that Jake lives in. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>13:45: Tad says the phrase “Gondolas are for losers” and dear god in heaven, how will I ever get through this movie?\u003c/p>\n\u003cp>14:15: Sierra starts singing along to “\u003ca href=\"https://www.rollingstone.com/music/music-news/lindsay-lohan-jingle-bell-rock-netflix-film-1234624531/\">Jingle Bell Rock\u003c/a>” in Tad’s car, because she just released that single, so let’s get that shoehorned in.\u003c/p>\n\u003cp>15:11: Back in Aunt Jackie’s snow globe, Jake is taking a couple from an Old Navy commercial on a sleigh ride.\u003c/p>\n\u003cp>17:33: Tad takes Sierra to the top of a mountain to propose. Sierra is dressed in a pink version of the Bride’s yellow and black jumpsuit from \u003cem>Kill Bill\u003c/em> so, frankly, who can blame him?\u003c/p>\n\u003cfigure id=\"attachment_13921503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png\" alt=\"A woman in a fluorescent pink ski suit with black details stands on skis on a mountaintop. A man in a black and white checkered jacket knees before her.\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1536x1052.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal.png 1618w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a ‘Kill Bill’ ski suit, for crying out loud! He’d be crazy not to put a ring on it! \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18:33: Jake’s perpetually-grinning child writes down a wish and hangs it on a tree at the local Christmas market. A creepazoid Santa look-a-like sees this, grins eerily and the wish flies up into the air and directly into a snowstorm. Said snowstorm hits Sierra and she falls off the side of the mountain. I am exhausted already.\u003c/p>\n\u003cp>19:35: I have a sneaking suspicion that this movie is about to turn into the Goldie Hawn-starring \u003ca href=\"https://www.youtube.com/watch?v=HH6OuDYKWNE\" target=\"_blank\" rel=\"noopener noreferrer\">1987 romantic comedy, \u003c/a>\u003cem>Overboard, \u003c/em>in which a Mean Rich Lady (she too wears an eye mask to bed) has an accident, loses her memory, then learns to be a good person by doing chores for A Working Man.\u003c/p>\n\u003cp>21:31: This movie just turned into \u003cem>Overboard\u003c/em>. This is the part where Goldie Hawn wakes up at the hospital and can’t remember who she is or what happened to her, but she’s enough of herself that she’s still awful to everyone who’s trying to help her and they can’t wait to get rid of her. Insert: Lindsay Lohan and a slightly more diverse cast.\u003c/p>\n\u003cfigure id=\"attachment_13921506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png\" alt=\"A woman sits up in bed with a bandage on her head. She is talking to a female doctor and a sheriff. There is a wreath hanging behind the hospital bed.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM.png 1780w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">May your hair look this flawless should you ever fall off a mountain and collide with a tree. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23:23: Jake — who discovered Sierra while out on his Old Navy sleigh ride — volunteers to take her back to the snow globe until they can figure out who she is. (Dude. Giving away free hotel rooms to strangers might be why your business is failing.)\u003c/p>\n\u003cp>25:03: Sierra has arrived at Jake’s lodge wearing festive hospital scrubs and no head bandage, because those evaporate the second you leave the hospital. The Grinning Child spots Sierra and does some grinning. Danny from \u003cem>The Shining\u003c/em> just popped into my head and I can’t be sure why…\u003c/p>\n\u003cfigure id=\"attachment_13921507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png\" alt=\"An adorable child with dark curly hair smiles broadly.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child.png 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Redrum, kid. Redrum. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>25:15: Sierra has a huge, fully decorated Christmas tree in her gigantic room. (Jake, man, we really need to talk about how much your struggling lodge is wasting on excessive Christmas decorations…)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890718",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>28:52: Sierra wakes up with a sock over her eyes and accidentally turns on the TV, so we can all catch a glimpse of another Netflix Christmas movie that the channel apparently needs to promote in the middle of \u003cem>this\u003c/em> Christmas movie. For shame, Netflix. For shame.\u003c/p>\n\u003cp>29:32: Sierra just used a crappy portable hairdryer to dry her long flowing hair and, holy crap, that must’ve taken two and a half hours.\u003c/p>\n\u003cp>31:03: Old Navy couple runs into Sierra and the Grinning Child. I am unclear what their role is in this movie but they keep showing up and doing nothing.\u003c/p>\n\u003cfigure id=\"attachment_13921509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png\" alt=\"A man driving a sleigh looks into the distance, shocked, while a white blond woman and a handsome Black man gaze at each other adoringly in the back of the sleigh.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-2048x1341.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1920x1257.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Can we please talk about how Old Navy these hotel guests are? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34:56: Tad, who got lost in the mountains, has found a small cabin with a bearded Ice Fisherman in it. Their weird sexual tension is finally giving me a reason to finish this movie.\u003c/p>\n\u003cp>35:01: Jake’s crappy customers keep calling and canceling because they’re staying at Airbnbs instead. “We can’t even afford a housekeeper!” Jake despairs. Cue Sierra taking up the task, because this movie is \u003cem>Overboard, \u003c/em>albeit without the humor and the electric sexual chemistry.\u003c/p>\n\u003cfigure id=\"attachment_13921510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Bed-Making-800x508.png\" alt=\"A woman lies on a bed, stretched out on top of a fitted sheet that's clinging to her.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sierra: A grown-ass human who doesn’t know how to put a sheet on a bed. This is supposed to be funny, I think? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>37:54: It’s not my imagination. Tad and the Ice Fisherman have a full blown \u003cem>vibe\u003c/em>. They’re wrestling in the snow. ”You’re so strong,” Tad says, followed by a series of sex noises. I’m really rooting for these two.\u003c/p>\n\u003cp>40:05: Sierra goes outside and tells all of her feelings to Balthazar the horse like he’s Mr. Ed.\u003c/p>\n\u003cp>43:48: Sierra, Jake and the Grinning Child are at the local Christmas market where Creepy Santa is showing them all a sleigh Jake can’t afford.\u003c/p>\n\u003cfigure id=\"attachment_13921511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Trio-at-Market-800x508.png\" alt=\"A woman, man and child all wearing winter clothes and hats, stand together smiling. \" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1536x976.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market.png 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The only direction given to this child for the entirety of this movie was ‘smile broadly.’ It is unnerving. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>47:16: Despite wearing that beanie all damn night, when the trio get home from the market, Jake’s hair looks like this.\u003c/p>\n\u003cfigure id=\"attachment_13921512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jake-hair-800x493.png\" alt=\"A white man with perfectly coiffed hair smiles.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stop it. Just stop it. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48:32: Sierra figures out how to make a bed and flip a pancake, so she is A Good Person now. This Grinning Child situation is gonna finish me.\u003c/p>\n\u003cp>49:23: Sierra, Jake and the Grinning Child are singing songs and decorating gingerbread houses and skiing and dear god man, haven’t you got a business to save?\u003c/p>\n\u003cfigure id=\"attachment_13921519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/popcorn-fight-800x461.png\" alt=\"A young girl and a woman flinch and laugh as they throw popcorn.\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1536x885.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-2048x1180.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1920x1106.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What do you do when you’re about to lose your business and home? Have a popcorn fight with these two, apparently. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>50:28: Old Navy Couple just checked out of the lodge and who will sit in the background now?\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>55:47: Sierra and Jake almost kiss, then don’t and all I can think about is Tad and the Ice Fisherman, who are probably at third base by now.\u003c/p>\n\u003cp>56:56: Sierra tells Jake’s grandmother and the Grinning Child that she’s figured out how to save Jake’s lodge: a party/fundraiser. Grandma, who gave the lodge to Jake and her (now deceased) daughter as a wedding gift, helpfully provides Sierra with “every contact for every guest from the last three decades,” like all those old-timey landlines are still going to work just fine. Thanks Grandma.\u003c/p>\n\u003cp>1:00:00: This small lodge has more Christmas decorations than the Union Square Macy’s windows on Dec. 24 and I have so many questions about Jake’s budgeting abilities.\u003c/p>\n\u003cfigure id=\"attachment_13921513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/excessive-decorations-800x500.png\" alt=\"A hallway with rooms visible down the hall, all very thoroughly decorated with lights and green festive decorations.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1536x960.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1920x1200.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations.png 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jake’s lodge: The answer to the question, ‘How many Christmas decorations is too many Christmas decorations?’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:02:02: Montage of invitation-printing and Christmas Eve party-planning. This movie is 12 hours long, I swear to god.\u003c/p>\n\u003cp>1:02:43: Tad and the Ice Fisherman are around a campfire eating beans. The sexual tension is thicker than the snow.\u003c/p>\n\u003cp>1:04:24: Sierra’s dad gets back from a business trip, discovers she’s disappeared, and declares his intention to get the sheriff involved. It’s hard to care about any of it because I just realized that Sierra’s dad has the middle-aged man version of Jake’s haircut and, um, that seems weird.\u003c/p>\n\u003cfigure id=\"attachment_13921514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png\" alt=\"An attractive older man wearing a white shirt and tie and black winter coat, looks concerned.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1536x944.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1920x1179.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Why does Sierra’s dad have the same hair as her love interest? You know what? Nevermind. That’s a question for her therapist. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:06:00: The sheriff finds Tad and the Ice Fisherman and brings them in for “poaching on government land.” Tad defends his mountain man in the sheriff’s office. If these two don’t make out soon, I’m going to toss my laptop through a window.\u003c/p>\n\u003cp>1:08:02: Sierra walks down some stairs wearing a red dress and everyone gasps and you already know this scene because it’s in literally every romantic comedy ever made.\u003c/p>\n\u003cfigure id=\"attachment_13921515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png\" alt=\"Lindsay Lohan wearing a red dress, walking down some stairs, Christmas decorations all around her.\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1020x603.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-768x454.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1536x908.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations.png 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If it weren’t for the excessive Christmas decoration, I’d assume this was Rachael Leigh Cook in ‘She’s All That.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:10:09: Party is in full swing and everyone is smiling like the Grinning Child. Random people keep giving Jake checks for all the free crap he’s done for them over the years. Literally everyone is donating by check. Is Jake’s ski lodge a portal back to the 1970s?\u003c/p>\n\u003cp>1:14:17: Sierra’s dad and Tad run into the party, she remembers everything and unceremoniously bolts despite the objections of Grinning Child, who has finally stopped grinning. Sweet relief!\u003c/p>\n\u003cp>1:16:39: Grossly unnecessary montage of all of the things we’ve literally just spent the last hour watching Sierra and Jake doing together. Give me strength.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889748",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>1:18:30: Sierra is in the kitchen hanging out with the hotel staff making pancakes. This scene was much better when it was in \u003cem>Overboard\u003c/em> because in that version there was tequila.\u003c/p>\n\u003cp>1:19:11: Sierra holds a press conference on Christmas morning because journalists definitely don’t have anything better to do that day. She shouts out Jake and recommends the lodge to all of the people watching a stupid heiress press conference on Christmas morning.\u003c/p>\n\u003cp>1:20:51: Grinning Child insists Jake tell Sierra how he feels about her, and the two take Creepy Santa’s sleigh (which is magically waiting for them outside the lodge — don’t ask questions) over to Sierra’s dad’s fancy resort.\u003c/p>\n\u003cp>1:23:04: Sierra tells her dad she needs to make her own way in the world. He replies “I promised your mother I’d take care of you. Looks like you’re starting to take care of yourself.” IF YOU MAKE A PANCAKE IN FRONT OF YOUR DAD THAT’S MAKING YOUR WAY IN THE WORLD NOW.\u003c/p>\n\u003cp>1:24:19: The lodge’s phone won’t stop ringing because of Sierra Belmont’s fans booking rooms. On Christmas Day. Grandma deals with it because she is the only glue holding this lodge together.\u003c/p>\n\u003cp>1:25:10: Sierra breaks up with Tad. Go find the Ice Fisherman, Tad!\u003c/p>\n\u003cfigure id=\"attachment_13921518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png\" alt=\"A handsome white man with very styled dark hair looks fondly at someone, tilting his head.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1020x706.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tad, a sexually ambiguous British man in need of some fisherman love.\u003c/figcaption>\u003c/figure>\n\u003cp>1:26:06: Tad invites the 1990s Gay Stereotype to spend New Year’s with him. It’s not quite what I wanted, but it’ll do!\u003c/p>\n\u003cp>1:26:51: Creepy Santa shows up and directs Jake to where Sierra is in the hotel. Haven’t you got children to spy on, Creepy Santa?\u003c/p>\n\u003cp>1:28:28: Sierra says her dad wants to invest in Jake’s lodge and that she will work there too. Instead of discussing contracts or the fact that Sierra basically just invited herself to move in with Jake after he’s known her for one week, they kiss finally and, meh, it’s not really worth all the build-up to be honest.\u003c/p>\n\u003cp>1:28:52: Sierra’s dad walks in with Grinning Child. “What a Christmas, you guys,” Jake says. “Yeah, it’s one I’ll never forget,” says Sierra. Massive groan.\u003c/p>\n\u003cp>1:29:49: It’s over! It’s finally over!\u003c/p>\n\u003cp>1:29:54: Wait. No. There’s a blooper reel.\u003c/p>\n\u003cp>1:33:45: \u003cem>Now\u003c/em> it’s finally over! Lindsay Lohan doesn’t get a Tyra gif for this one, but she can definitely have this instead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921516 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\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>\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>‘\u003ca href=\"https://www.netflix.com/search?q=falling%20for%20christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Falling for Christmas\u003c/a>‘ is streaming now, on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_3388",
"arts_10278",
"arts_977",
"arts_3324",
"arts_18763",
"arts_6427"
],
"featImg": "arts_13921520",
"label": "arts"
},
"arts_13921444": {
"type": "posts",
"id": "arts_13921444",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921444",
"score": null,
"sort": [
1668021276000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1668021276,
"format": "standard",
"title": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album",
"headTitle": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album | KQED",
"content": "\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920908']In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>[aside postid='pop_104969']The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\n\u003cp>https://twitter.com/OVOSound/status/1587914638095589377\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 515,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705006174,
"excerpt": "Condé Nast, the publisher of ‘Vogue,’ is seeking at least $4 million in damages over the rappers’ fake magazine cover.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Condé Nast, the publisher of ‘Vogue,’ is seeking at least $4 million in damages over the rappers’ fake magazine cover.",
"title": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album",
"datePublished": "2022-11-09T11:14:36-08:00",
"dateModified": "2024-01-11T12:49:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1135201548&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 09 Nov 2022 05:00:56 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 09 Nov 2022 09:29:48 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/09/1135201548/vogue-drake-21-savage-lawsuit-fake-cover?ft=nprml&f=1135201548",
"nprImageAgency": "Drake and 21 Savage/Screenshot by NPR",
"nprStoryId": "1135201548",
"nprByline": "Jonathan Franklin",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Nov 2022 09:29:00 -0500",
"path": "/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920908",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\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>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_104969",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1587914638095589377"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album",
"authors": [
"byline_arts_13921444"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_6117",
"arts_6742",
"arts_4469"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921445",
"label": "arts_137"
},
"arts_13921321": {
"type": "posts",
"id": "arts_13921321",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921321",
"score": null,
"sort": [
1667584490000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1667584490,
"format": "standard",
"title": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’",
"headTitle": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’ | KQED",
"content": "\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>[aside postid='arts_13920799']In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W4t58Yruhds\u003c/p>\n\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>[aside postid='arts_13921052']A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 703,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006183,
"excerpt": "Mars Rover Opportunity was expected to work for 90 days — 15 years later, Oppy was still roving, as a new documentary captures.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Mars Rover Opportunity was expected to work for 90 days — 15 years later, Oppy was still roving, as a new documentary captures.",
"title": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’",
"datePublished": "2022-11-04T10:54:50-07:00",
"dateModified": "2024-01-11T12:49:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-loving-salute-to-nasas-mars-rover-program-in-good-night-oppy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1134095343&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 03 Nov 2022 16:24:03 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 04 Nov 2022 12:43:55 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/03/1134095343/movie-review-good-night-oppy?ft=nprml&f=1134095343",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/11/20221103_atc_review_-_good_night_oppy.mp3?orgId=1&topicId=4467349&d=212&p=2&story=1134095343&ft=nprml&f=1134095343",
"nprImageAgency": "Courtesy of Prime Video",
"nprAudioM3u": "http://api.npr.org/m3u/11134095344-811790.m3u?orgId=1&topicId=4467349&d=212&p=2&story=1134095343&ft=nprml&f=1134095343",
"nprStoryId": "1134095343",
"nprByline": "Bob Mondello",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 04 Nov 2022 12:43:00 -0400",
"path": "/arts/13921321/a-loving-salute-to-nasas-mars-rover-program-in-good-night-oppy",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/11/20221103_atc_review_-_good_night_oppy.mp3?orgId=1&topicId=4467349&d=212&p=2&story=1134095343&ft=nprml&f=1134095343",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920799",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\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/W4t58Yruhds'\n title='//www.youtube.com/embed/W4t58Yruhds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921052",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921321/a-loving-salute-to-nasas-mars-rover-program-in-good-night-oppy",
"authors": [
"byline_arts_13921321"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_10521",
"arts_973"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921322",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 1080,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2976,
"relation": "eq"
},
"items": [
"arts_13922004",
"arts_13922105",
"arts_13921900",
"arts_13921929",
"arts_13921866",
"arts_13921777",
"arts_13921719",
"arts_13921642",
"arts_13921616",
"arts_13921477",
"arts_13921444",
"arts_13921321"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_popculture": {
"isLoading": true
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"source_arts_13921900": {
"type": "terms",
"id": "source_arts_13921900",
"meta": {
"override": true
},
"name": "One Beautiful Thing From 2022",
"link": "https://ww2.kqed.org/arts/tag/one-beautiful-thing",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_3388": {
"type": "terms",
"id": "arts_3388",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3388",
"found": true
},
"relationships": {},
"featImg": null,
"name": "christmas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "christmas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3400,
"slug": "christmas",
"isLoading": false,
"link": "/arts/tag/christmas"
},
"arts_4088": {
"type": "terms",
"id": "arts_4088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4088",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dolly parton",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dolly parton Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4100,
"slug": "dolly-parton",
"isLoading": false,
"link": "/arts/tag/dolly-parton"
},
"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_3247": {
"type": "terms",
"id": "arts_3247",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3247",
"found": true
},
"relationships": {},
"featImg": null,
"name": "holidays",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "holidays Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3259,
"slug": "holidays",
"isLoading": false,
"link": "/arts/tag/holidays"
},
"arts_8480": {
"type": "terms",
"id": "arts_8480",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8480",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8492,
"slug": "nbc",
"isLoading": false,
"link": "/arts/tag/nbc"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"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_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_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_5634": {
"type": "terms",
"id": "arts_5634",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5634",
"found": true
},
"relationships": {},
"featImg": null,
"name": "travis scott",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "travis scott Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5646,
"slug": "travis-scott",
"isLoading": false,
"link": "/arts/tag/travis-scott"
},
"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_5665": {
"type": "terms",
"id": "arts_5665",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5665",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beastie boys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beastie boys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5677,
"slug": "beastie-boys",
"isLoading": false,
"link": "/arts/tag/beastie-boys"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_12735": {
"type": "terms",
"id": "arts_12735",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12735",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Gen Z",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Gen Z Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12747,
"slug": "gen-z",
"isLoading": false,
"link": "/arts/tag/gen-z"
},
"arts_19127": {
"type": "terms",
"id": "arts_19127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19127",
"found": true
},
"relationships": {},
"name": "One Beautiful Thing",
"slug": "one-beautiful-thing",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "One Beautiful Thing | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 19139,
"isLoading": false,
"link": "/arts/tag/one-beautiful-thing"
},
"arts_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"arts_8482": {
"type": "terms",
"id": "arts_8482",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8482",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ABC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ABC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8494,
"slug": "abc",
"isLoading": false,
"link": "/arts/tag/abc"
},
"arts_16405": {
"type": "terms",
"id": "arts_16405",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16405",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gameshow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gameshow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16417,
"slug": "gameshow",
"isLoading": false,
"link": "/arts/tag/gameshow"
},
"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_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_19106": {
"type": "terms",
"id": "arts_19106",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19106",
"found": true
},
"relationships": {},
"featImg": null,
"name": "eras",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "eras Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19118,
"slug": "eras",
"isLoading": false,
"link": "/arts/tag/eras"
},
"arts_3219": {
"type": "terms",
"id": "arts_3219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Nation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Nation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3231,
"slug": "live-nation",
"isLoading": false,
"link": "/arts/tag/live-nation"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_4802": {
"type": "terms",
"id": "arts_4802",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4802",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticketmaster",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticketmaster Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4814,
"slug": "ticketmaster",
"isLoading": false,
"link": "/arts/tag/ticketmaster"
},
"arts_10778": {
"type": "terms",
"id": "arts_10778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10778",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10790,
"slug": "his-is-a-good-time-to-start-a-garden-heres-how",
"isLoading": false,
"link": "/arts/affiliate/his-is-a-good-time-to-start-a-garden-heres-how"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_2777": {
"type": "terms",
"id": "arts_2777",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2777",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harvey Weinstein",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harvey Weinstein Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2789,
"slug": "harvey-weinstein",
"isLoading": false,
"link": "/arts/tag/harvey-weinstein"
},
"arts_6125": {
"type": "terms",
"id": "arts_6125",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6125",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new york times",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new york times Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6137,
"slug": "new-york-times",
"isLoading": false,
"link": "/arts/tag/new-york-times"
},
"arts_2775": {
"type": "terms",
"id": "arts_2775",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2775",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rose McGowan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rose McGowan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2787,
"slug": "rose-mcgowan",
"isLoading": false,
"link": "/arts/tag/rose-mcgowan"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_9669": {
"type": "terms",
"id": "arts_9669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harry Styles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harry Styles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9681,
"slug": "harry-styles",
"isLoading": false,
"link": "/arts/tag/harry-styles"
},
"arts_3070": {
"type": "terms",
"id": "arts_3070",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3070",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jay Z",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jay Z Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3082,
"slug": "jay-z",
"isLoading": false,
"link": "/arts/tag/jay-z"
},
"arts_1774": {
"type": "terms",
"id": "arts_1774",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1774",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kendrick lamar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kendrick lamar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1786,
"slug": "kendrick-lamar",
"isLoading": false,
"link": "/arts/tag/kendrick-lamar"
},
"arts_19073": {
"type": "terms",
"id": "arts_19073",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19073",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mary J Blige",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mary J Blige Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19085,
"slug": "mary-j-blige",
"isLoading": false,
"link": "/arts/tag/mary-j-blige"
},
"arts_3397": {
"type": "terms",
"id": "arts_3397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3409,
"slug": "apple",
"isLoading": false,
"link": "/arts/tag/apple"
},
"arts_10744": {
"type": "terms",
"id": "arts_10744",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10744",
"found": true
},
"relationships": {},
"featImg": null,
"name": "auction",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "auction Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10756,
"slug": "auction",
"isLoading": false,
"link": "/arts/tag/auction"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_18763": {
"type": "terms",
"id": "arts_18763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rom com",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rom com Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18775,
"slug": "rom-com",
"isLoading": false,
"link": "/arts/tag/rom-com"
},
"arts_6427": {
"type": "terms",
"id": "arts_6427",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6427",
"found": true
},
"relationships": {},
"featImg": null,
"name": "streaming",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "streaming Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6439,
"slug": "streaming",
"isLoading": false,
"link": "/arts/tag/streaming"
},
"arts_6117": {
"type": "terms",
"id": "arts_6117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drake",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drake Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6129,
"slug": "drake",
"isLoading": false,
"link": "/arts/tag/drake"
},
"arts_6742": {
"type": "terms",
"id": "arts_6742",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6742",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lawsuit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lawsuit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6754,
"slug": "lawsuit",
"isLoading": false,
"link": "/arts/tag/lawsuit"
},
"arts_4469": {
"type": "terms",
"id": "arts_4469",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4469",
"found": true
},
"relationships": {},
"featImg": null,
"name": "vogue",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "vogue Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4481,
"slug": "vogue",
"isLoading": false,
"link": "/arts/tag/vogue"
},
"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_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"arts_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
}
},
"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
}
}
