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_13967665": {
"type": "attachments",
"id": "arts_13967665",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13967665",
"found": true
},
"title": "A scene of devastation in Banda Aceh on Dec. 27, 2004 after the devastating earthquake and tsunami.",
"publishDate": 1730749966,
"status": "inherit",
"parent": 13967651,
"modified": 1730750138,
"caption": "A scene of devastation in Banda Aceh, Indonesia, on Dec. 27, 2004 after the devastating earthquake and tsunami.",
"credit": "BAY ISMOYO/AFP via Getty Images",
"altTag": "Piles of debris and an immobilized car sit beneath tropical trees.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-800x426.jpg",
"width": 800,
"height": 426,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-1020x543.jpg",
"width": 1020,
"height": 543,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-160x85.jpg",
"width": 160,
"height": 85,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-768x409.jpg",
"width": 768,
"height": 409,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-1536x818.jpg",
"width": 1536,
"height": 818,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami-1920x1022.jpg",
"width": 1920,
"height": 1022,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tsunami.jpg",
"width": 2000,
"height": 1065
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13968102": {
"type": "attachments",
"id": "arts_13968102",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968102",
"found": true
},
"title": "Lola Petticrew as Dolours Price.",
"publishDate": 1731610529,
"status": "inherit",
"parent": 13968075,
"modified": 1731610563,
"caption": "Lola Petticrew as Dolours Price.",
"credit": "Rob Youngston/FX",
"altTag": "A white woman dressed as a nun points a gun at a bank teller's window.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-800x490.png",
"width": 800,
"height": 490,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-1020x625.png",
"width": 1020,
"height": 625,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-160x98.png",
"width": 160,
"height": 98,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-768x471.png",
"width": 768,
"height": 471,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-1536x942.png",
"width": 1536,
"height": 942,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing-1920x1177.png",
"width": 1920,
"height": 1177,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/say-nothing.png",
"width": 2000,
"height": 1226
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13967964": {
"type": "attachments",
"id": "arts_13967964",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13967964",
"found": true
},
"title": "‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner.",
"publishDate": 1731435002,
"status": "inherit",
"parent": 13967962,
"modified": 1731435044,
"caption": "‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner.",
"credit": "Dutton via AP",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-800x444.png",
"width": 800,
"height": 444,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-1020x567.png",
"width": 1020,
"height": 567,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-160x89.png",
"width": 160,
"height": 89,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-768x427.png",
"width": 768,
"height": 427,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-1536x853.png",
"width": 1536,
"height": 853,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1-1920x1067.png",
"width": 1920,
"height": 1067,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1.png",
"width": 2000,
"height": 1111
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13967598": {
"type": "attachments",
"id": "arts_13967598",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13967598",
"found": true
},
"title": "Keri Russell and Rufus Sewell as Kate and Hal Wyler.",
"publishDate": 1730485350,
"status": "inherit",
"parent": 13967594,
"modified": 1730485469,
"caption": "Keri Russell and Rufus Sewell as Kate and Hal Wyler.",
"credit": "Netflix",
"altTag": "A white woman and white man stand in a grand room decorated patriotically, staring upwards and looking perplexed.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-800x493.png",
"width": 800,
"height": 493,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-1020x628.png",
"width": 1020,
"height": 628,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-160x99.png",
"width": 160,
"height": 99,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-768x473.png",
"width": 768,
"height": 473,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-1536x946.png",
"width": 1536,
"height": 946,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip-1920x1183.png",
"width": 1920,
"height": 1183,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dip.png",
"width": 2000,
"height": 1232
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966482": {
"type": "attachments",
"id": "arts_13966482",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966482",
"found": true
},
"title": "Cate Blanchett as Catherine Ravenscroft in the new Apple TV+ series ‘Disclaimer.’",
"publishDate": 1728671251,
"status": "inherit",
"parent": 13966481,
"modified": 1728672325,
"caption": "Cate Blanchett as Catherine Ravenscroft in the new Apple TV+ series ‘Disclaimer.’",
"credit": "Apple TV+",
"altTag": "A blond white woman stands outside a front door, looking stunned.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/disclaimer-photo-0101-scaled-e1728672252120.jpeg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966302": {
"type": "attachments",
"id": "arts_13966302",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966302",
"found": true
},
"title": "Michaela P. Shelton, writer and star of the show 'Reckless Behavior.'",
"publishDate": 1728439785,
"status": "inherit",
"parent": 13966239,
"modified": 1728439969,
"caption": "Michaela P. Shelton, writer and star of the show 'Reckless Behavior.'",
"credit": "Courtesy of Michaela P. Shelton",
"altTag": "Michaela P. Shelton, writer and star of the show 'Reckless Behavior.'",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1.jpg",
"width": 1280,
"height": 853
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13965851": {
"type": "attachments",
"id": "arts_13965851",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13965851",
"found": true
},
"title": "Myha’la as Harper.",
"publishDate": 1727721029,
"status": "inherit",
"parent": 13965841,
"modified": 1727721090,
"caption": "Myha’la as Harper.",
"credit": "Simon Ridgway/HBO",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-800x533.png",
"width": 800,
"height": 533,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-1020x679.png",
"width": 1020,
"height": 679,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-768x511.png",
"width": 768,
"height": 511,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-1536x1023.png",
"width": 1536,
"height": 1023,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper-1920x1279.png",
"width": 1920,
"height": 1279,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/harper.png",
"width": 2000,
"height": 1332
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13965836": {
"type": "attachments",
"id": "arts_13965836",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13965836",
"found": true
},
"title": "Tina Fey as Sarah Palin, Kate McKinnon as Hillary Clinton, and Amy Poehler as Hillary Clinton during the ‘A Hillary Christmas’ sketch on December 19, 2015.",
"publishDate": 1727717326,
"status": "inherit",
"parent": 13965835,
"modified": 1727719362,
"caption": "Tina Fey as Sarah Palin, Kate McKinnon as Hillary Clinton, and Amy Poehler as Hillary Clinton during the ‘A Hillary Christmas’ sketch on December 19, 2015.",
"credit": "Dana Edelson/NBC",
"altTag": "Three white women wearing pant suits stand side by side in living room set.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nbc-photo-scaled-e1727719277433.jpeg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13965679": {
"type": "attachments",
"id": "arts_13965679",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13965679",
"found": true
},
"title": "Dame Maggie Smith, photographed in London in 2012.",
"publishDate": 1727460616,
"status": "inherit",
"parent": 13965673,
"modified": 1727460696,
"caption": "Dame Maggie Smith, photographed in London in 2012. ",
"credit": "Stuart Wilson/Getty Images",
"altTag": "A senior woman smiles warmly on a red carpet.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-800x472.jpg",
"width": 800,
"height": 472,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-1020x602.jpg",
"width": 1020,
"height": 602,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-160x94.jpg",
"width": 160,
"height": 94,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-768x454.jpg",
"width": 768,
"height": 454,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-1536x907.jpg",
"width": 1536,
"height": 907,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith-1920x1134.jpg",
"width": 1920,
"height": 1134,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/maggie-smith.jpg",
"width": 2000,
"height": 1181
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13965574": {
"type": "attachments",
"id": "arts_13965574",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13965574",
"found": true
},
"title": "Kim Matula as Jane Curtin, Emily Fairn as Laraine Newman, Gabriel La Belle as Lorne Michaels, Rachel Sennott as Rosie Shuster, and Matt Wood as John Belushi in a scene from ‘Saturday Night.’",
"publishDate": 1727388016,
"status": "inherit",
"parent": 13965548,
"modified": 1727388085,
"caption": "Kim Matula as Jane Curtin, Emily Fairn as Laraine Newman, Gabriel La Belle as Lorne Michaels, Rachel Sennott as Rosie Shuster, and Matt Wood as John Belushi in a scene from ‘Saturday Night.’",
"credit": "Hopper Stone/Sony Pictures via AP",
"altTag": "A group of men and women talk amongst themselves before mirrors in a dressing room.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-800x526.png",
"width": 800,
"height": 526,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-1020x670.png",
"width": 1020,
"height": 670,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-160x105.png",
"width": 160,
"height": 105,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-768x505.png",
"width": 768,
"height": 505,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-1536x1009.png",
"width": 1536,
"height": 1009,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday-1920x1261.png",
"width": 1920,
"height": 1261,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/saturday.png",
"width": 2000,
"height": 1314
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13964245": {
"type": "attachments",
"id": "arts_13964245",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13964245",
"found": true
},
"title": "Dee Dee Simon gets the golden buzzer during the latest season of America's Got Talent.",
"publishDate": 1726464906,
"status": "inherit",
"parent": 13964217,
"modified": 1726516989,
"caption": "Dee Dee Simon gets the golden buzzer during this summer's season of America's Got Talent. ",
"credit": "Courtesy NBC/America's Got Talent",
"altTag": "Dee Dee Simon gets the golden buzzer during the latest season of America's Got Talent.",
"description": "Dee Dee Simon gets the golden buzzer during the latest season of America's Got Talent.",
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-800x537.jpg",
"width": 800,
"height": 537,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-1020x684.jpg",
"width": 1020,
"height": 684,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-768x515.jpg",
"width": 768,
"height": 515,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-1536x1030.jpg",
"width": 1536,
"height": 1030,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FB_IMG_1726244284513.jpg",
"width": 1768,
"height": 1186
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13964235": {
"type": "attachments",
"id": "arts_13964235",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13964235",
"found": true
},
"title": "The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series.",
"publishDate": 1726461489,
"status": "inherit",
"parent": 13964232,
"modified": 1726461571,
"caption": "The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series.",
"credit": "Phil McCarten/Invision/AP",
"altTag": "A large group of men and women in evening wear on an awards stage.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png",
"width": 800,
"height": 524,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png",
"width": 1020,
"height": 668,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png",
"width": 160,
"height": 105,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png",
"width": 768,
"height": 503,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png",
"width": 1536,
"height": 1005,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png",
"width": 1920,
"height": 1257,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png",
"width": 2000,
"height": 1309
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13968075": {
"type": "authors",
"id": "byline_arts_13968075",
"meta": {
"override": true
},
"slug": "byline_arts_13968075",
"name": "Linda Holmes, NPR",
"isLoading": false
},
"byline_arts_13967962": {
"type": "authors",
"id": "byline_arts_13967962",
"meta": {
"override": true
},
"slug": "byline_arts_13967962",
"name": "Andrew DeMillo, Associated Press",
"isLoading": false
},
"byline_arts_13967594": {
"type": "authors",
"id": "byline_arts_13967594",
"meta": {
"override": true
},
"slug": "byline_arts_13967594",
"name": "Eric Deggans, NPR",
"isLoading": false
},
"byline_arts_13966481": {
"type": "authors",
"id": "byline_arts_13966481",
"meta": {
"override": true
},
"slug": "byline_arts_13966481",
"name": "Eric Deggans, NPR",
"isLoading": false
},
"byline_arts_13965841": {
"type": "authors",
"id": "byline_arts_13965841",
"meta": {
"override": true
},
"slug": "byline_arts_13965841",
"name": "Aisha Harris, NPR",
"isLoading": false
},
"byline_arts_13965835": {
"type": "authors",
"id": "byline_arts_13965835",
"meta": {
"override": true
},
"slug": "byline_arts_13965835",
"name": "Eric Deggans, NPR",
"isLoading": false
},
"byline_arts_13965673": {
"type": "authors",
"id": "byline_arts_13965673",
"meta": {
"override": true
},
"slug": "byline_arts_13965673",
"name": "Jill Lawless, Associated Press",
"isLoading": false
},
"byline_arts_13965548": {
"type": "authors",
"id": "byline_arts_13965548",
"meta": {
"override": true
},
"slug": "byline_arts_13965548",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13964266": {
"type": "authors",
"id": "byline_arts_13964266",
"meta": {
"override": true
},
"slug": "byline_arts_13964266",
"name": "Associated Press",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"pagesReducer": {
"arts_category_tv": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"score": 12.673747
},
"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,
"title": "TV",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 11
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 11
}
},
{
"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_13967651": {
"type": "posts",
"id": "arts_13967651",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13967651",
"score": null,
"sort": [
1731945631000
]
},
"guestAuthors": [],
"slug": "race-against-time-streaming-series-national-geographic-review-2004-tsunami-documentary",
"title": "‘Tsunami: Race Against Time’ Unfolds Like a Thriller Instead of a Documentary",
"publishDate": 1731945631,
"format": "standard",
"headTitle": "‘Tsunami: Race Against Time’ Unfolds Like a Thriller Instead of a Documentary | KQED",
"labelTerm": {},
"content": "\u003cp>It is a rare feat for a documentary series to educate, shatter emotionally, uplift and terrify all at once, but \u003cem>Tsunami: Race Against Time\u003c/em> manages all of the above.\u003c/p>\n\u003cp>Several documentaries (and a 2012 drama, \u003cem>The Impossible\u003c/em>) have attempted to capture the devastation of the 2004 Indian Ocean tsunami that impacted 14 countries and killed more than 225,000 people. But only \u003cem>Race Against Time\u003c/em> has done so on a scale befitting the tragedy. Across four episodes, the ambitious National Geographic series conveys the events of Dec. 26, 2004 from every possible angle, using a wealth of archival footage, often playing more like a dramatic thriller than a documentary series.\u003c/p>\n\u003cp>[aside postid='arts_13965858']In each episode, survivors — tourists and locals alike — describe in gripping detail their experiences in Thailand, Indonesia and Sri Lanka. Heartwarming stories of reunions contrast with devastating recollections of lives lost. There are even love stories of unbreakable bonds, formed by surviving hell on Earth. (“When I found out he saved me,” a woman says at one point, “I knew he was the man I wanted to marry.”)\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> also honors the children who were forced to fend for themselves in the worst possible circumstances. The filmmakers went to the trouble of tracking down the last survivor found in Banda Aceh, Indonesia — a small boy who had endured, scavenging and alone, for three weeks. When the archival footage of his rescue is juxtaposed with footage of the present day, it is a genuine relief to see him happy and healthy 20 years on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4V_xX3UDHb8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Acting as an anchor of the piece is seismologist Barry Hirshorn, who was on duty at the Pacific Tsunami Warning Center in Hawaii on the day of the calamity. Hirshorn begins by describing the essential science behind the disaster, vividly and in terms everybody can understand.\u003c/p>\n\u003cp>“An earthquake that occurs under the ocean actually lifts the ocean bottom. Imagine a line of 1,000 kilometers of water being lifted vertically,” Hirshorn says. “When the gravity pulls it down, the wave separates and spreads out in two directions. As you get near a coast, you’re not going to see what we think of as ocean waves. I think of it as more like a steamroller.” In case anyone is left in doubt as to the sheer power he describes, Hirshorn explains that the energy released by the earthquake causing the tsunami was equivalent to 23,000 “Hiroshima-type atomic bombs.”\u003c/p>\n\u003cp>[aside postid='arts_13966836']Hirshorn also agonizingly details how he and his colleagues tried to warn countries in the path of the approaching tsunami. Their efforts were largely unsuccessful, because the endangered locations didn’t have warning systems in place at the time. Hearing Hirshorn relive the experience of knowing carnage was imminent, desperately trying to get thousands of humans out of harm’s way and being foiled by logistics raises the blood pressure again and again.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> doesn’t stop there. It also delineates the confusion in the media during the earliest coverage of the disaster. Sri Lanka was first thought to be the country most affected; in reality, Indonesia was hit the hardest (167,000 people died there). That took many hours to fully comprehend because the country’s communications networks had been wiped out. The issue was exacerbated by understaffed, holiday-period newsrooms.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> is an often challenging, and harrowing, viewing experience. But there’s just enough hope to get viewers through it. Many of the featured survivors tell of strangers — \u003cem>so many\u003c/em> fearless strangers — who, under pressure, transformed into indefatigable heroes who put their own lives at risk to save others.\u003c/p>\n\u003cp>One young woman’s story of a family trip to an isolated island plays out like a horror movie — until one brave police lieutenant arrives on a Jet Ski. One Sri Lankan bus station security guard returns to violent waters again and again to rescue passengers. A vacationing British doctor springs into improvised action to help the multitude of injured people on an isolated Thai island — even though his girlfriend has been swept away in the disaster and he does not yet know her fate.\u003c/p>\n\u003cp>[aside postid='arts_13966737']All told, \u003cem>Race Against Time \u003c/em>is an extraordinarily thorough documentation of the deadliest tsunami in recorded human history. It is a story of nature’s power and humanity’s fragility — and of human endurance. It is a cautionary tale that seeks to educate viewers about recognizing when a tsunami is imminent.\u003c/p>\n\u003cp>Above all, \u003cem>Race Against Time \u003c/em> is a moving and fitting tribute to mark the 20th anniversary of an almost unfathomable tragedy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tsunami: Race Against Time’ premieres on Nat Geo on Nov. 24, 2024, and begins streaming the following day on Hulu and Disney+.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new four-part documentary on the 2004 Indian Ocean tsunami is a devastating but ultimately uplifting watch.",
"status": "publish",
"parent": 0,
"modified": 1750185729,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 829
},
"headData": {
"title": "TV Review: ‘Tsunami: Race Against Time’ from Nat Geo | KQED",
"description": "A new four-part documentary on the 2004 Indian Ocean tsunami is a devastating but ultimately uplifting watch.",
"ogTitle": "‘Tsunami: Race Against Time’ Plays Out Like a Thriller, Not a Documentary",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Tsunami: Race Against Time’ Plays Out Like a Thriller, Not a Documentary",
"twDescription": "",
"twImgId": "",
"socialTitle": "TV Review: ‘Tsunami: Race Against Time’ from Nat Geo %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Tsunami: Race Against Time’ Unfolds Like a Thriller Instead of a Documentary",
"datePublished": "2024-11-18T08:00:31-08:00",
"dateModified": "2025-06-17T11:42:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13967651",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13967651/race-against-time-streaming-series-national-geographic-review-2004-tsunami-documentary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is a rare feat for a documentary series to educate, shatter emotionally, uplift and terrify all at once, but \u003cem>Tsunami: Race Against Time\u003c/em> manages all of the above.\u003c/p>\n\u003cp>Several documentaries (and a 2012 drama, \u003cem>The Impossible\u003c/em>) have attempted to capture the devastation of the 2004 Indian Ocean tsunami that impacted 14 countries and killed more than 225,000 people. But only \u003cem>Race Against Time\u003c/em> has done so on a scale befitting the tragedy. Across four episodes, the ambitious National Geographic series conveys the events of Dec. 26, 2004 from every possible angle, using a wealth of archival footage, often playing more like a dramatic thriller than a documentary series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965858",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In each episode, survivors — tourists and locals alike — describe in gripping detail their experiences in Thailand, Indonesia and Sri Lanka. Heartwarming stories of reunions contrast with devastating recollections of lives lost. There are even love stories of unbreakable bonds, formed by surviving hell on Earth. (“When I found out he saved me,” a woman says at one point, “I knew he was the man I wanted to marry.”)\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> also honors the children who were forced to fend for themselves in the worst possible circumstances. The filmmakers went to the trouble of tracking down the last survivor found in Banda Aceh, Indonesia — a small boy who had endured, scavenging and alone, for three weeks. When the archival footage of his rescue is juxtaposed with footage of the present day, it is a genuine relief to see him happy and healthy 20 years on.\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/4V_xX3UDHb8'\n title='//www.youtube.com/embed/4V_xX3UDHb8'\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>Acting as an anchor of the piece is seismologist Barry Hirshorn, who was on duty at the Pacific Tsunami Warning Center in Hawaii on the day of the calamity. Hirshorn begins by describing the essential science behind the disaster, vividly and in terms everybody can understand.\u003c/p>\n\u003cp>“An earthquake that occurs under the ocean actually lifts the ocean bottom. Imagine a line of 1,000 kilometers of water being lifted vertically,” Hirshorn says. “When the gravity pulls it down, the wave separates and spreads out in two directions. As you get near a coast, you’re not going to see what we think of as ocean waves. I think of it as more like a steamroller.” In case anyone is left in doubt as to the sheer power he describes, Hirshorn explains that the energy released by the earthquake causing the tsunami was equivalent to 23,000 “Hiroshima-type atomic bombs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966836",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hirshorn also agonizingly details how he and his colleagues tried to warn countries in the path of the approaching tsunami. Their efforts were largely unsuccessful, because the endangered locations didn’t have warning systems in place at the time. Hearing Hirshorn relive the experience of knowing carnage was imminent, desperately trying to get thousands of humans out of harm’s way and being foiled by logistics raises the blood pressure again and again.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> doesn’t stop there. It also delineates the confusion in the media during the earliest coverage of the disaster. Sri Lanka was first thought to be the country most affected; in reality, Indonesia was hit the hardest (167,000 people died there). That took many hours to fully comprehend because the country’s communications networks had been wiped out. The issue was exacerbated by understaffed, holiday-period newsrooms.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> is an often challenging, and harrowing, viewing experience. But there’s just enough hope to get viewers through it. Many of the featured survivors tell of strangers — \u003cem>so many\u003c/em> fearless strangers — who, under pressure, transformed into indefatigable heroes who put their own lives at risk to save others.\u003c/p>\n\u003cp>One young woman’s story of a family trip to an isolated island plays out like a horror movie — until one brave police lieutenant arrives on a Jet Ski. One Sri Lankan bus station security guard returns to violent waters again and again to rescue passengers. A vacationing British doctor springs into improvised action to help the multitude of injured people on an isolated Thai island — even though his girlfriend has been swept away in the disaster and he does not yet know her fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966737",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All told, \u003cem>Race Against Time \u003c/em>is an extraordinarily thorough documentation of the deadliest tsunami in recorded human history. It is a story of nature’s power and humanity’s fragility — and of human endurance. It is a cautionary tale that seeks to educate viewers about recognizing when a tsunami is imminent.\u003c/p>\n\u003cp>Above all, \u003cem>Race Against Time \u003c/em> is a moving and fitting tribute to mark the 20th anniversary of an almost unfathomable tragedy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tsunami: Race Against Time’ premieres on Nat Geo on Nov. 24, 2024, and begins streaming the following day on Hulu and Disney+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13967651/race-against-time-streaming-series-national-geographic-review-2004-tsunami-documentary",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_22313",
"arts_990"
],
"tags": [
"arts_21949",
"arts_13672",
"arts_22173",
"arts_769",
"arts_585"
],
"featImg": "arts_13967665",
"label": "source_arts_13967651"
},
"arts_13968075": {
"type": "posts",
"id": "arts_13968075",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968075",
"score": null,
"sort": [
1731610718000
]
},
"guestAuthors": [],
"slug": "say-nothing-fx-tv-review-patrick-radden-keefe-irish-republican-army",
"title": "FX’s ‘Say Nothing’ Adaptation Is a Haunting Recollection of the Irish Republican Army",
"publishDate": 1731610718,
"format": "standard",
"headTitle": "FX’s ‘Say Nothing’ Adaptation Is a Haunting Recollection of the Irish Republican Army | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Patrick Radden Keefe’s book \u003cem>Say Nothing\u003c/em>, a history of The Troubles in Northern Ireland, is heavy in a few ways. On top of its subject matter, it’s more than 500 pages long — though a quarter of that is notes, a proportion that reflects both the depth of Keefe’s research and the sprawl of the story.\u003c/p>\n\u003cp>The 2018 book begins with the abduction and murder of Jean McConville, a widowed mother of ten who was taken from her home in 1972 by operatives of the Irish Republican Army and never seen alive again. It follows several historical figures through decades of The Troubles: Gerry Adams, a radical who became a politician (who insists to this day that he was never part of the IRA); Brendan Hughes, an IRA member nicknamed The Dark; and many participants in IRA operations, some of whom spent long periods in jail. Some died on hunger strikes.\u003c/p>\n\u003cp>[aside postid='arts_13940076']But Keefe’s most compelling character is the woman who appears with her face half-hidden on the book cover: Dolours Price, who began working with the IRA as a teenager, and who eventually spent years in jail for a series of car bombings in London. And it is Dolours who centers the new FX series that tries to wrestle this perhaps unadaptable book into a nine-episode scripted series.\u003c/p>\n\u003cp>Played as a young woman by Lola Petticrew and as an older one by Maxine Peake, Dolours is raised to be a radical alongside her sister, Marian (Hazel Doupe). Their aunt has already given her hands and eyes to the cause as a bomb-maker, and while the girls start out in nonviolent protest, they soon join the ranks of those whose commitment to the cause of removing the British from Northern Ireland includes using bombs and guns. And that doesn’t extend only to the use of violence against British soldiers and police; it includes attacks on Belfast Catholics who are believed to be traitors or informants. And eventually, as the series tells it, Dolours comes up with the idea to set off the bombs in London that sent the sisters to prison. (According to the book, it was more complicated than that.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FhxvEJV9xos\u003c/p>\n\u003ch3>The challenge of distilling history in a scripted series\u003c/h3>\n\u003cp>As a show, \u003cem>Say Nothing\u003c/em> is well-executed and features excellent performances (Peake’s is perhaps the strongest). Yet the series can’t be expected to do the same work as the book — a scripted show is not a history lesson. There is a patience and thoroughness to Keefe’s explanation of the underlying dynamics that led to the Troubles that the series cannot match. Decades (and more) of history can’t be easily condensed into a scene or an image. So what comes through more clearly are the things that \u003cem>do \u003c/em>translate well to dramatization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, in early episodes, \u003cem>Say Nothing\u003c/em> often feels like a caper movie, following Dolours and Marian and their compatriots on missions where they prove they are up to the same jobs that young men they know can do. Those missions turn grim when Dolours begins to drive initially unsuspecting men — some of them people she knows well — to the places where they will be killed by their allies for their believed transgressions. Creator Josh Zetumer has said that one of the things he wanted the series to capture is that radicalism can be romantic and exciting for young people, and \u003cem>Say Nothing\u003c/em> certainly does that.\u003c/p>\n\u003cp>The difficulty is that Dolours’ time as an operative, when she still sees the conflict and her work for the IRA as quite simple, are the least emotionally rich part of the story. But they occupy a great deal of the on-screen real estate across these nine episodes.. For instance: Dolours and Marian’s harrowing hunger strike is one episode out of nine in the show. But it’s one chapter out of 30 in the book.\u003c/p>\n\u003cfigure id=\"attachment_13968086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png\" alt=\"A white man with dark hair and beard stands with arms folded in front of 1970s-era wallpaper.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1920x1280.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh Finan as Gerry Adams. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Necessarily, when some things take up more space, others will take up less. There is limited attention until late in the series to the McConvilles, who spent the decades after their mother’s death dealing with her absence. Other than Brendan Hughes and Gerry Adams, there’s little about other IRA members (or alleged members), particularly Bobby Sands, an important figure in the book who died while on a hunger strike in prison.\u003c/p>\n\u003ch3>Reckoning with the past\u003c/h3>\n\u003cp>[aside postid='arts_13891175']The book is less about recounting actions than it is about contextualizing choices and consequences, and so perhaps it’s unsurprising that the series is at its best when it does the same. The last two episodes, the most successful ones, are focused on two stories. One is Dolours’ struggle, as an older woman, with her past actions (though she remains a staunch believer in her cause itself). It is only when she’s older, and when she feels that the revolution she hoped to be part of has largely failed, that Dolours can reckon with her own actions — including her role in the murder of Jean McConville. The show is not meant to be a condemnation of Dolours’ radical youth, but only a presentation of it as a choice made out of desperation with outcomes she could not fully anticipate.\u003c/p>\n\u003cp>The other story is about the agony of the McConville children, who are now adults, who long for the barest peace they hope to find in properly burying their mother’s body. This is where the thesis of the book comes through best: This conflict was devastating and intolerable, and for many people, it never ended. People do awful things in war, they take orders, they commit and do not look back. But that doesn’t mean that, many years later, they are not haunted. And the twin hauntings of Dolours Price and Helen McConville, who was 15 when her mother died, are the most tragic and piercing chapters of this story.\u003c/p>\n\u003cfigure id=\"attachment_13968085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png\" alt=\"A red headed woman rests her head on her left hand while reclining on a couch. She looks concerned.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1920x1271.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Peake as older Dolours Price. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the primary reasons this series exists — and one of the reasons Keefe’s book exists — is that Dolours chose to participate in a Boston College oral history project that interviewed people about The Troubles with the promise that nothing they said would be revealed until after they were dead. As both book and series tell it, she did this to face her demons. She did it to share the truth.\u003c/p>\n\u003cp>[aside postid='arts_13967594']But she also did it because she was bitterly angry at Gerry Adams — for claiming never to have been part of the IRA, for enriching himself through politics, for refusing to accept his part of the responsibility for anything, and for, as she saw it, for capitulating to the British during the peace process that made him famous in a new and “respectable” way.\u003c/p>\n\u003cp>It is in telling the story of this older Dolours, who is proud, stubborn and defiant as well as conflicted about her legacy, where \u003cem>Say Nothing\u003c/em> is most effective. While it may fall short as a history of the conflict, as a biography of one woman, it leaves a powerful impression.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All episodes of ‘Say Nothing’ are available to stream on Hulu, starting Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new nine-part TV series adapts Patrick Radden Keefe's 2018 bestseller about Northern Ireland’s Troubles. ",
"status": "publish",
"parent": 0,
"modified": 1731618739,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1257
},
"headData": {
"title": "TV Review: ‘Say Nothing’ Chronicles IRA Rage and Regrets | KQED",
"description": "A new nine-part TV series adapts Patrick Radden Keefe's 2018 bestseller about Northern Ireland’s Troubles. ",
"ogTitle": "FX’s ‘Say Nothing’ Adaptation Is a Haunting Chronicle of the Irish Republican Army",
"ogDescription": "",
"ogImgId": "",
"twTitle": "FX’s ‘Say Nothing’ Adaptation Is a Haunting Chronicle of the Irish Republican Army",
"twDescription": "",
"twImgId": "",
"socialTitle": "TV Review: ‘Say Nothing’ Chronicles IRA Rage and Regrets %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "FX’s ‘Say Nothing’ Adaptation Is a Haunting Recollection of the Irish Republican Army",
"datePublished": "2024-11-14T10:58:38-08:00",
"dateModified": "2024-11-14T13:12:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes, NPR",
"nprStoryId": "nx-s1-5188604",
"nprHtmlLink": "https://www.npr.org/2024/11/13/nx-s1-5188604/say-nothing-tv-adaptation-fx-ireland-the-troubles",
"nprRetrievedStory": "1",
"nprPubDate": "2024-11-14T07:00:00-05:00",
"nprStoryDate": "2024-11-14T07:00:00-05:00",
"nprLastModifiedDate": "2024-11-14T07:00:10.199-05:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968075/say-nothing-fx-tv-review-patrick-radden-keefe-irish-republican-army",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patrick Radden Keefe’s book \u003cem>Say Nothing\u003c/em>, a history of The Troubles in Northern Ireland, is heavy in a few ways. On top of its subject matter, it’s more than 500 pages long — though a quarter of that is notes, a proportion that reflects both the depth of Keefe’s research and the sprawl of the story.\u003c/p>\n\u003cp>The 2018 book begins with the abduction and murder of Jean McConville, a widowed mother of ten who was taken from her home in 1972 by operatives of the Irish Republican Army and never seen alive again. It follows several historical figures through decades of The Troubles: Gerry Adams, a radical who became a politician (who insists to this day that he was never part of the IRA); Brendan Hughes, an IRA member nicknamed The Dark; and many participants in IRA operations, some of whom spent long periods in jail. Some died on hunger strikes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But Keefe’s most compelling character is the woman who appears with her face half-hidden on the book cover: Dolours Price, who began working with the IRA as a teenager, and who eventually spent years in jail for a series of car bombings in London. And it is Dolours who centers the new FX series that tries to wrestle this perhaps unadaptable book into a nine-episode scripted series.\u003c/p>\n\u003cp>Played as a young woman by Lola Petticrew and as an older one by Maxine Peake, Dolours is raised to be a radical alongside her sister, Marian (Hazel Doupe). Their aunt has already given her hands and eyes to the cause as a bomb-maker, and while the girls start out in nonviolent protest, they soon join the ranks of those whose commitment to the cause of removing the British from Northern Ireland includes using bombs and guns. And that doesn’t extend only to the use of violence against British soldiers and police; it includes attacks on Belfast Catholics who are believed to be traitors or informants. And eventually, as the series tells it, Dolours comes up with the idea to set off the bombs in London that sent the sisters to prison. (According to the book, it was more complicated than that.)\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/FhxvEJV9xos'\n title='//www.youtube.com/embed/FhxvEJV9xos'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The challenge of distilling history in a scripted series\u003c/h3>\n\u003cp>As a show, \u003cem>Say Nothing\u003c/em> is well-executed and features excellent performances (Peake’s is perhaps the strongest). Yet the series can’t be expected to do the same work as the book — a scripted show is not a history lesson. There is a patience and thoroughness to Keefe’s explanation of the underlying dynamics that led to the Troubles that the series cannot match. Decades (and more) of history can’t be easily condensed into a scene or an image. So what comes through more clearly are the things that \u003cem>do \u003c/em>translate well to dramatization.\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>Indeed, in early episodes, \u003cem>Say Nothing\u003c/em> often feels like a caper movie, following Dolours and Marian and their compatriots on missions where they prove they are up to the same jobs that young men they know can do. Those missions turn grim when Dolours begins to drive initially unsuspecting men — some of them people she knows well — to the places where they will be killed by their allies for their believed transgressions. Creator Josh Zetumer has said that one of the things he wanted the series to capture is that radicalism can be romantic and exciting for young people, and \u003cem>Say Nothing\u003c/em> certainly does that.\u003c/p>\n\u003cp>The difficulty is that Dolours’ time as an operative, when she still sees the conflict and her work for the IRA as quite simple, are the least emotionally rich part of the story. But they occupy a great deal of the on-screen real estate across these nine episodes.. For instance: Dolours and Marian’s harrowing hunger strike is one episode out of nine in the show. But it’s one chapter out of 30 in the book.\u003c/p>\n\u003cfigure id=\"attachment_13968086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png\" alt=\"A white man with dark hair and beard stands with arms folded in front of 1970s-era wallpaper.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1920x1280.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh Finan as Gerry Adams. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Necessarily, when some things take up more space, others will take up less. There is limited attention until late in the series to the McConvilles, who spent the decades after their mother’s death dealing with her absence. Other than Brendan Hughes and Gerry Adams, there’s little about other IRA members (or alleged members), particularly Bobby Sands, an important figure in the book who died while on a hunger strike in prison.\u003c/p>\n\u003ch3>Reckoning with the past\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891175",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The book is less about recounting actions than it is about contextualizing choices and consequences, and so perhaps it’s unsurprising that the series is at its best when it does the same. The last two episodes, the most successful ones, are focused on two stories. One is Dolours’ struggle, as an older woman, with her past actions (though she remains a staunch believer in her cause itself). It is only when she’s older, and when she feels that the revolution she hoped to be part of has largely failed, that Dolours can reckon with her own actions — including her role in the murder of Jean McConville. The show is not meant to be a condemnation of Dolours’ radical youth, but only a presentation of it as a choice made out of desperation with outcomes she could not fully anticipate.\u003c/p>\n\u003cp>The other story is about the agony of the McConville children, who are now adults, who long for the barest peace they hope to find in properly burying their mother’s body. This is where the thesis of the book comes through best: This conflict was devastating and intolerable, and for many people, it never ended. People do awful things in war, they take orders, they commit and do not look back. But that doesn’t mean that, many years later, they are not haunted. And the twin hauntings of Dolours Price and Helen McConville, who was 15 when her mother died, are the most tragic and piercing chapters of this story.\u003c/p>\n\u003cfigure id=\"attachment_13968085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png\" alt=\"A red headed woman rests her head on her left hand while reclining on a couch. She looks concerned.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1920x1271.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Peake as older Dolours Price. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the primary reasons this series exists — and one of the reasons Keefe’s book exists — is that Dolours chose to participate in a Boston College oral history project that interviewed people about The Troubles with the promise that nothing they said would be revealed until after they were dead. As both book and series tell it, she did this to face her demons. She did it to share the truth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13967594",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But she also did it because she was bitterly angry at Gerry Adams — for claiming never to have been part of the IRA, for enriching himself through politics, for refusing to accept his part of the responsibility for anything, and for, as she saw it, for capitulating to the British during the peace process that made him famous in a new and “respectable” way.\u003c/p>\n\u003cp>It is in telling the story of this older Dolours, who is proud, stubborn and defiant as well as conflicted about her legacy, where \u003cem>Say Nothing\u003c/em> is most effective. While it may fall short as a history of the conflict, as a biography of one woman, it leaves a powerful impression.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All episodes of ‘Say Nothing’ are available to stream on Hulu, starting Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968075/say-nothing-fx-tv-review-patrick-radden-keefe-irish-republican-army",
"authors": [
"byline_arts_13968075"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_22313",
"arts_990"
],
"tags": [
"arts_8237",
"arts_13193",
"arts_21768",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13968102",
"label": "arts_140"
},
"arts_13967962": {
"type": "posts",
"id": "arts_13967962",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13967962",
"score": null,
"sort": [
1731435525000
]
},
"guestAuthors": [],
"slug": "ted-lasso-book-review-believe-jeremy-egner-apple-tv",
"title": "‘Believe’ Takes a Curious, not Judgmental, Look at Success of ‘Ted Lasso’",
"publishDate": 1731435525,
"format": "aside",
"headTitle": "‘Believe’ Takes a Curious, not Judgmental, Look at Success of ‘Ted Lasso’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13967963\" class=\"wp-caption aligncenter\" style=\"max-width: 1322px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png\" alt=\"A book cover featuring aviator sunglasses colored like the British Union Jack flag.\" width=\"1322\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png 1322w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-800x1210.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1020x1543.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-768x1162.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1015x1536.png 1015w\" sizes=\"(max-width: 1322px) 100vw, 1322px\">\u003cfigcaption class=\"wp-caption-text\">‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner. \u003ccite>(Dutton via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.\u003c/p>\n\u003cp>[aside postid='arts_13967856']There’s a lot to learn from the unlikely success of \u003cem>Ted Lasso\u003c/em>, the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s \u003cem>Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts\u003c/em> is the best place to learn it.\u003c/p>\n\u003cp>As television editor for \u003cem>The New York Times\u003c/em>, Egner had a front-row seat to the show and the cultural phenomenon it became. That background offers readers an enlightening and entertaining guide, though it’s definitely geared toward fans of the show.\u003c/p>\n\u003cp>Written half as an oral history and half as a guide to key episodes, \u003cem>Believe\u003c/em> offers plenty of interesting tidbits about the making of the show and provides inspiration for fans to give \u003cem>Ted Lasso\u003c/em> another viewing.\u003c/p>\n\u003cp>Egner leaves no detail uncovered, including the taste of Ted’s famous biscuits (dry, at least in the first season) and arguments over what the \u003cem>Believe\u003c/em> sign hanging in the locker room should look like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>[aside postid='arts_13967831']Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A ‘New York Times’ TV editor explores the Apple TV+ phenomenon in this enlightening and entertaining guide. ",
"status": "publish",
"parent": 0,
"modified": 1731435525,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 401
},
"headData": {
"title": "Book Review: ‘Believe: The Untold Story Behind Ted Lasso’ | KQED",
"description": "A ‘New York Times’ TV editor explores the Apple TV+ phenomenon in this enlightening and entertaining guide. ",
"ogTitle": "‘Believe’ Takes a Curious, not Judgmental, Look at Success of ‘Ted Lasso’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Believe’ Takes a Curious, not Judgmental, Look at Success of ‘Ted Lasso’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Believe: The Untold Story Behind Ted Lasso’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Believe’ Takes a Curious, not Judgmental, Look at Success of ‘Ted Lasso’",
"datePublished": "2024-11-12T10:18:45-08:00",
"dateModified": "2024-11-12T10:18:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew DeMillo, Associated Press",
"nprStoryId": "kqed-13967962",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13967962/ted-lasso-book-review-believe-jeremy-egner-apple-tv",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967963\" class=\"wp-caption aligncenter\" style=\"max-width: 1322px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png\" alt=\"A book cover featuring aviator sunglasses colored like the British Union Jack flag.\" width=\"1322\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png 1322w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-800x1210.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1020x1543.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-768x1162.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1015x1536.png 1015w\" sizes=\"(max-width: 1322px) 100vw, 1322px\">\u003cfigcaption class=\"wp-caption-text\">‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner. \u003ccite>(Dutton via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13967856",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There’s a lot to learn from the unlikely success of \u003cem>Ted Lasso\u003c/em>, the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s \u003cem>Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts\u003c/em> is the best place to learn it.\u003c/p>\n\u003cp>As television editor for \u003cem>The New York Times\u003c/em>, Egner had a front-row seat to the show and the cultural phenomenon it became. That background offers readers an enlightening and entertaining guide, though it’s definitely geared toward fans of the show.\u003c/p>\n\u003cp>Written half as an oral history and half as a guide to key episodes, \u003cem>Believe\u003c/em> offers plenty of interesting tidbits about the making of the show and provides inspiration for fans to give \u003cem>Ted Lasso\u003c/em> another viewing.\u003c/p>\n\u003cp>Egner leaves no detail uncovered, including the taste of Ted’s famous biscuits (dry, at least in the first season) and arguments over what the \u003cem>Believe\u003c/em> sign hanging in the locker room should look like.\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 book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13967831",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13967962/ted-lasso-book-review-believe-jeremy-egner-apple-tv",
"authors": [
"byline_arts_13967962"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_22313",
"arts_990"
],
"tags": [
"arts_9222",
"arts_769",
"arts_585"
],
"featImg": "arts_13967964",
"label": "arts_140"
},
"arts_13967594": {
"type": "posts",
"id": "arts_13967594",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13967594",
"score": null,
"sort": [
1730486077000
]
},
"guestAuthors": [
{
"ID": "13818263",
"displayName": "Eric Deggans",
"firstName": "Eric",
"lastName": "Deggans",
"userLogin": "eric-deggans",
"userEmail": "",
"linkedAccount": "",
"website": "https://www.npr.org/people/243254424/eric-deggans",
"description": "",
"userNicename": "eric-deggans",
"type": "guest-author",
"nickname": ""
}
],
"slug": "the-diplomat-season-2-review-netflix-keri-russell",
"title": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
"publishDate": 1730486077,
"format": "standard",
"headTitle": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>[aside postid='arts_13966481']But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J49VymjKJ8w\u003c/p>\n\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>[aside postid='arts_13965841']In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Netflix’s ‘The Diplomat’ rides a compelling line between serving up hefty slices of political and emotional drama.",
"status": "publish",
"parent": 0,
"modified": 1730486077,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 952
},
"headData": {
"title": "‘The Diplomat’ Season 2 Review: Smart and Savvy as Ever | KQED",
"description": "Netflix’s ‘The Diplomat’ rides a compelling line between serving up hefty slices of political and emotional drama.",
"ogTitle": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘The Diplomat’ Season 2 Review: Smart and Savvy as Ever %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
"datePublished": "2024-11-01T11:34:37-07:00",
"dateModified": "2024-11-01T11:34:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Eric Deggans, NPR",
"nprStoryId": "nx-s1-5168409",
"nprHtmlLink": "https://www.npr.org/2024/10/30/nx-s1-5168409/netflix-the-diplomat-season-2-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-10-31T07:01:00-04:00",
"nprStoryDate": "2024-10-31T07:01:00-04:00",
"nprLastModifiedDate": "2024-10-31T21:56:01.959-04:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/10/20241031_atc_review_the_diplomat.mp3?size=3615809&d=225949&e=nx-s1-5168409",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13967594/the-diplomat-season-2-review-netflix-keri-russell",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/10/20241031_atc_review_the_diplomat.mp3?size=3615809&d=225949&e=nx-s1-5168409",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966481",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\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>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\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/J49VymjKJ8w'\n title='//www.youtube.com/embed/J49VymjKJ8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965841",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13967594/the-diplomat-season-2-review-netflix-keri-russell",
"authors": [
"byline_arts_13967594"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_22313",
"arts_990"
],
"tags": [
"arts_8905",
"arts_3324",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13967598",
"label": "arts_140"
},
"arts_13966481": {
"type": "posts",
"id": "arts_13966481",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966481",
"score": null,
"sort": [
1728673328000
]
},
"guestAuthors": [
{
"ID": "13818263",
"displayName": "Eric Deggans",
"firstName": "Eric",
"lastName": "Deggans",
"userLogin": "eric-deggans",
"userEmail": "",
"linkedAccount": "",
"website": "https://www.npr.org/people/243254424/eric-deggans",
"description": "",
"userNicename": "eric-deggans",
"type": "guest-author",
"nickname": ""
}
],
"slug": "disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline",
"title": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age",
"publishDate": 1728673328,
"format": "standard",
"headTitle": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>[aside postid='arts_13965841']And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>[aside postid='arts_13966239']The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so6XoqZgbVM\u003c/p>\n\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>[aside postid='arts_13965835']But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>[aside postid='arts_13966394']It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Apple TV+’s series written and directed by Alfonso Cuarón stars Cate Blanchett as a successful documentarian with a secret.",
"status": "publish",
"parent": 0,
"modified": 1728673328,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 942
},
"headData": {
"title": "TV Review: ‘Disclaimer’ on Apple TV+ Is a Sprawling Thriller | KQED",
"description": "Apple TV+’s series written and directed by Alfonso Cuarón stars Cate Blanchett as a successful documentarian with a secret.",
"ogTitle": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age",
"twDescription": "",
"twImgId": "",
"socialTitle": "TV Review: ‘Disclaimer’ on Apple TV+ Is a Sprawling Thriller %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age",
"datePublished": "2024-10-11T12:02:08-07:00",
"dateModified": "2024-10-11T12:02:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Eric Deggans, NPR",
"nprStoryId": "nx-s1-5146493",
"nprHtmlLink": "https://www.npr.org/2024/10/11/nx-s1-5146493/disclaimer-apple-tv-alfonso-cuaron-cate-blanchett",
"nprRetrievedStory": "1",
"nprPubDate": "2024-10-11T12:06:57.84-04:00",
"nprStoryDate": "2024-10-11T12:06:57.84-04:00",
"nprLastModifiedDate": "2024-10-11T12:06:57.84-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966481/disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965841",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\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>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966239",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\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/so6XoqZgbVM'\n title='//www.youtube.com/embed/so6XoqZgbVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965835",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966394",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966481/disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline",
"authors": [
"byline_arts_13966481"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_22313",
"arts_990"
],
"tags": [
"arts_9222",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13966482",
"label": "arts_140"
},
"arts_13966239": {
"type": "posts",
"id": "arts_13966239",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966239",
"score": null,
"sort": [
1728501264000
]
},
"guestAuthors": [],
"slug": "dating-in-the-bay-reckless-behavior-show-tubi",
"title": "Dating in the Bay Is a Recipe for Drama on ‘Reckless Behavior’",
"publishDate": 1728501264,
"format": "standard",
"headTitle": "Dating in the Bay Is a Recipe for Drama on ‘Reckless Behavior’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Dating in the Bay is a drama series waiting to happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a place where the pursuit of love is impacted by everything from real poverty to fake players. Everyone seemingly knows everyone, and far too many people are either on the periphery of the entertainment industry or have one foot in the streets. It’s a region where, for many, money is tight, so space and time for love is nearly nonexistent. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Add the toxic yet universal elements of dating — lying and deceit, heartache and heartbreak — and you’ll understand what led San Leandro’s Michaela P. Shelton to create her scripted show, \u003cem>Reckless Behavior: The Series\u003c/em>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966301\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg\" alt=\"An image taken from 'Reckless Behavior,' a scripted show about dating in the Bay Area.\" width=\"1280\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Reckless Behavior,’ a scripted show about dating in the Bay Area. \u003ccite>(Courtesy of Michaela P. Shelton )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show has two seasons currently available on Tubi and is set to launch its third season with \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">a special pre-screening this Friday\u003c/a>. It highlights dating issues from the perspective of Michaela’s self-titled character. She’s a quintessential millennial in her late 20s, navigating the job market and maintaining a roof over her head, while staying tight with her friend circle and seeking a healthy romantic relationship.\u003c/p>\n\u003cp>The show is full of drama but grounded in the tone of a modern sitcom, with funny banter and some well-written shady scenarios. There are a few jaggedly delivered lines and a handful of truly awkward situations. While that serves as evidence that not everyone on the cast is a trained actor, it also showcases a wide range of Bay Area personalities \u003cspan style=\"font-weight: 400\">— \u003c/span>beyond the archetypes of hyphy gangsters and slick-talking pimps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show also does its due diligence when it takes to a heavier tone, reminding viewers about the unsavory aspects of dating and socializing \u003cspan style=\"font-weight: 400\">—\u003c/span> drugs and alcohol, suicide attempts and depression, as well as stalking and physically abusive relationships.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shelton, co-founder of \u003ca href=\"https://queenmediacollective.com/author/queenmediacollective/\" target=\"_blank\" rel=\"noopener\">Queen Media Collective\u003c/a>, is a writer in real life as well as in the series. She says the idea started in 2015 as a radio show while she was a journalism student at San Jose State University. Three years later, \u003cem>Reckless Behavior\u003c/em> became the name of her blog, where she covered her own dating fiascos and spotlighted local artists on the rise. Both the blog and the radio show were inspired by “\u003c/span>the irrational decisions I’d make as a young adult,” says Shelton.\u003c/p>\n\u003cp>Although the show is centered on her post-college dating conundrums, Shelton says viewership has included her peers as well as people in their\u003cspan style=\"font-weight: 400\"> 40s and 50s. And the latter group has provided Shelton with some reassurance about her irrational decisions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s been older folks reaching out and saying \u003c/span>\u003cspan style=\"font-weight: 400\">they’ve been through something similar,” says Shelton. \u003c/span>\u003cspan style=\"font-weight: 400\">“We were all once young and dumb, and trying to figure it out.”\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DWHKsCSbJXk\u003c/p>\n\u003cp>The fictional Michaela’s pursuit of love takes her to scenic Bay Area locations and well-known businesses, and the cast is full of recognizable faces from the local arts scene.\u003c/p>\n\u003cp>Rappers and comedians, models and tastemakers often show up as themselves and make brief cameos. Podcaster \u003ca href=\"https://www.instagram.com/shamari.ray.bell/\" target=\"_blank\" rel=\"noopener\">Shamari Ray Bell\u003c/a> and KMEL host \u003ca href=\"https://www.instagram.com/_gbizness/\" target=\"_blank\" rel=\"noopener\">Gary “G-Biz” Bizer\u003c/a> play two of the main characters. We also see beloved stoner and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13909254/rightnowish-big-love-oopz\" target=\"_blank\" rel=\"noopener\">Oopz\u003c/a> and talented MC \u003ca href=\"https://www.kqed.org/arts/13853514/rightnowish-honey-gold-jasmines-superpowers-of-balance\" target=\"_blank\" rel=\"noopener\">Honey Gold Jasmine\u003c/a>, as well as popular travel vlogger \u003ca href=\"https://www.instagram.com/thebrandon510/\" target=\"_blank\" rel=\"noopener\">Brandon “Beejus” Robinson\u003c/a>, event host and poet \u003ca href=\"https://www.kqed.org/arts/13888257/gold-beams\" target=\"_blank\" rel=\"noopener\">Tayleur Crenshaw\u003c/a> (who produces events at KQED) and more.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That’s intentional,” says Shelton, adding that she wanted to bring visibility to creatives who deserve more light. “I reached out to people and asked them if they had an interest in acting and expanding their skillset.” One of the many people who answered Shelton’s call was rapper and actor \u003ca href=\"https://www.instagram.com/tcarriermusic/\" target=\"_blank\" rel=\"noopener\">T. Carriér\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966314\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966314\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg\" alt=\"Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album. \u003ccite>(Latece Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born in San Francisco and raised in Fairfield, Carriér has \u003c/span>been in the music game for over a decade, working as an artist and as a manager.\u003c/p>\n\u003cp>Under his label Black Money Music Group, he worked with artists like Sage The Gemini during his run of hits, “\u003ca href=\"https://www.youtube.com/watch?v=X8LUd51IuiA\" target=\"_blank\" rel=\"noopener\">Gas Pedal\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-I-YY5p0uq8\" target=\"_blank\" rel=\"noopener\">Red Nose,\u003c/a>” as well as “\u003ca href=\"https://www.youtube.com/watch?v=80seHo0DHyo\" target=\"_blank\" rel=\"noopener\">Panoramic\u003c/a>” rapper Dmac and San Francisco’s \u003ca href=\"https://www.instagram.com/showy4mayor/?hl=en\" target=\"_blank\" rel=\"noopener\">Show Banga\u003c/a>.\u003c/p>\n\u003cp>Carriér was already into making hip-hop music when he got his first taste of acting as a student at Fairfield’s Armijo High School. He credits a former teacher, Mr. Brown, who Carriér describes as an “old school Broadway theatrical guy,” for pushing him to find other ways to showcase his talents. “\u003cspan style=\"font-weight: 400\">He introduced me to a lot of key factors of theater,” says Carriér during a recent phone call. “\u003c/span>\u003cspan style=\"font-weight: 400\">I started feeling like, let me learn more about this stuff.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér got the opportunity to show his acting skills on the heels of releasing a music project a few years ago; he and Shelton originally connected because she wanted to write about his music. The two stayed in contact, and when it was time to turn her blog into a streaming series, Shelton reached out to Carriér again. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">‘d n\u003c/span>\u003cspan style=\"font-weight: 400\">ever heard someone doing that before, not locally,” Carriér says of Shelton’s dream to create a show. \u003c/span>\u003cspan style=\"font-weight: 400\">Carriér was excited to come onboard, but scheduling conflicts didn’t allow him to be as immersed in the first season as he would’ve liked. \u003c/span>\u003c/p>\n\u003cp>In the third season, \u003cspan style=\"font-weight: 400\">Carriér has a reoccurring role as a playboy-type rapper named Passion. And behind the scenes, Carriér worked alongside Shelton and assistant director \u003ca href=\"https://www.instagram.com/laurenrascoe/\" target=\"_blank\" rel=\"noopener\">Lauren Rascoe\u003c/a> to get hands-on experience as a director and producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What’s more, Carriér says, is that the show has opened doors for him in the entertainment industry. This year, he’s done work with Keke Palmer’s KeyTV network and has worked on a spot for Reebok. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Because of this show,” says Carriér, “I’ve been able to showcase my talents and get more opportunities.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966318\" class=\"wp-caption aligncenter\" style=\"max-width: 2248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg\" alt=\"T. Carriér performing at The New Parish in Oakland.\" width=\"2248\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg 2248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1920x1281.jpg 1920w\" sizes=\"(max-width: 2248px) 100vw, 2248px\">\u003cfigcaption class=\"wp-caption-text\">T. Carriér performing at The New Parish in Oakland. \u003ccite>(Dominique Washington )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This growth in the world of acting comes at a trying time for Carriér, who lost his mother this past summer. After her death, he recommitted himself to going hard for his family and pursuing his dreams of being an entertainer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last month he dropped \u003ca href=\"https://distrokid.com/hyperfollow/tcarrir/strength?utm_campaign=website&utm_medium=Email+&utm_source=SendGrid\" target=\"_blank\" rel=\"noopener\">an eight-song EP titled \u003cem>Strength\u003c/em>\u003c/a>, and he’s on the verge of following up this month with another project called \u003cem>Focus\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With even more music and future acting gigs on the horizon, Carriér reflects on the driving force behind his latest push: “I promised [my mom], from this moment, that I got us. At this point I’m just trying to stand on that.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a humble tone, he says his goal is to “demonstrate some sort of strength and resilience” for his family, as his mother’s passing left them all with a gaping hole. \u003c/span>\u003cspan style=\"font-weight: 400\">“Now I have to assume that role,” says Carriér. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér’s determination to succeed in turn has supported Shelton’s dream of being a writer, and vice versa. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This symbiotic relationship illustrates how it’s bigger than a dramatic series about trashy dating experiences. It’s even bigger than putting on for the Bay. It’s honestly about fostering a supportive creative community and supporting one another as we move toward a common goal. There’s nothing \u003cem>reckless\u003c/em> about that. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The team behind ‘Reckless Behavior’ will hold a pre-screening of season three this Friday, Oct. 11, at Oakland’s Destiny Arts Center. \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">Details and tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Michaela P. Shelton plays a fictional version of herself looking for love on her Tubi scripted series. ",
"status": "publish",
"parent": 0,
"modified": 1728584117,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 1393
},
"headData": {
"title": "Dating in the Bay Is a Recipe for Drama on ‘Reckless Behavior’ | KQED",
"description": "Michaela P. Shelton plays a fictional version of herself looking for love on her Tubi scripted series. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dating in the Bay Is a Recipe for Drama on ‘Reckless Behavior’",
"datePublished": "2024-10-09T12:14:24-07:00",
"dateModified": "2024-10-10T11:15:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966239",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966239/dating-in-the-bay-reckless-behavior-show-tubi",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Dating in the Bay is a drama series waiting to happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a place where the pursuit of love is impacted by everything from real poverty to fake players. Everyone seemingly knows everyone, and far too many people are either on the periphery of the entertainment industry or have one foot in the streets. It’s a region where, for many, money is tight, so space and time for love is nearly nonexistent. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Add the toxic yet universal elements of dating — lying and deceit, heartache and heartbreak — and you’ll understand what led San Leandro’s Michaela P. Shelton to create her scripted show, \u003cem>Reckless Behavior: The Series\u003c/em>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966301\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg\" alt=\"An image taken from 'Reckless Behavior,' a scripted show about dating in the Bay Area.\" width=\"1280\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Reckless Behavior,’ a scripted show about dating in the Bay Area. \u003ccite>(Courtesy of Michaela P. Shelton )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show has two seasons currently available on Tubi and is set to launch its third season with \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">a special pre-screening this Friday\u003c/a>. It highlights dating issues from the perspective of Michaela’s self-titled character. She’s a quintessential millennial in her late 20s, navigating the job market and maintaining a roof over her head, while staying tight with her friend circle and seeking a healthy romantic relationship.\u003c/p>\n\u003cp>The show is full of drama but grounded in the tone of a modern sitcom, with funny banter and some well-written shady scenarios. There are a few jaggedly delivered lines and a handful of truly awkward situations. While that serves as evidence that not everyone on the cast is a trained actor, it also showcases a wide range of Bay Area personalities \u003cspan style=\"font-weight: 400\">— \u003c/span>beyond the archetypes of hyphy gangsters and slick-talking pimps.\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 show also does its due diligence when it takes to a heavier tone, reminding viewers about the unsavory aspects of dating and socializing \u003cspan style=\"font-weight: 400\">—\u003c/span> drugs and alcohol, suicide attempts and depression, as well as stalking and physically abusive relationships.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shelton, co-founder of \u003ca href=\"https://queenmediacollective.com/author/queenmediacollective/\" target=\"_blank\" rel=\"noopener\">Queen Media Collective\u003c/a>, is a writer in real life as well as in the series. She says the idea started in 2015 as a radio show while she was a journalism student at San Jose State University. Three years later, \u003cem>Reckless Behavior\u003c/em> became the name of her blog, where she covered her own dating fiascos and spotlighted local artists on the rise. Both the blog and the radio show were inspired by “\u003c/span>the irrational decisions I’d make as a young adult,” says Shelton.\u003c/p>\n\u003cp>Although the show is centered on her post-college dating conundrums, Shelton says viewership has included her peers as well as people in their\u003cspan style=\"font-weight: 400\"> 40s and 50s. And the latter group has provided Shelton with some reassurance about her irrational decisions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s been older folks reaching out and saying \u003c/span>\u003cspan style=\"font-weight: 400\">they’ve been through something similar,” says Shelton. \u003c/span>\u003cspan style=\"font-weight: 400\">“We were all once young and dumb, and trying to figure it out.”\u003c/span>\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/DWHKsCSbJXk'\n title='//www.youtube.com/embed/DWHKsCSbJXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fictional Michaela’s pursuit of love takes her to scenic Bay Area locations and well-known businesses, and the cast is full of recognizable faces from the local arts scene.\u003c/p>\n\u003cp>Rappers and comedians, models and tastemakers often show up as themselves and make brief cameos. Podcaster \u003ca href=\"https://www.instagram.com/shamari.ray.bell/\" target=\"_blank\" rel=\"noopener\">Shamari Ray Bell\u003c/a> and KMEL host \u003ca href=\"https://www.instagram.com/_gbizness/\" target=\"_blank\" rel=\"noopener\">Gary “G-Biz” Bizer\u003c/a> play two of the main characters. We also see beloved stoner and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13909254/rightnowish-big-love-oopz\" target=\"_blank\" rel=\"noopener\">Oopz\u003c/a> and talented MC \u003ca href=\"https://www.kqed.org/arts/13853514/rightnowish-honey-gold-jasmines-superpowers-of-balance\" target=\"_blank\" rel=\"noopener\">Honey Gold Jasmine\u003c/a>, as well as popular travel vlogger \u003ca href=\"https://www.instagram.com/thebrandon510/\" target=\"_blank\" rel=\"noopener\">Brandon “Beejus” Robinson\u003c/a>, event host and poet \u003ca href=\"https://www.kqed.org/arts/13888257/gold-beams\" target=\"_blank\" rel=\"noopener\">Tayleur Crenshaw\u003c/a> (who produces events at KQED) and more.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That’s intentional,” says Shelton, adding that she wanted to bring visibility to creatives who deserve more light. “I reached out to people and asked them if they had an interest in acting and expanding their skillset.” One of the many people who answered Shelton’s call was rapper and actor \u003ca href=\"https://www.instagram.com/tcarriermusic/\" target=\"_blank\" rel=\"noopener\">T. Carriér\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966314\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966314\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg\" alt=\"Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album. \u003ccite>(Latece Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born in San Francisco and raised in Fairfield, Carriér has \u003c/span>been in the music game for over a decade, working as an artist and as a manager.\u003c/p>\n\u003cp>Under his label Black Money Music Group, he worked with artists like Sage The Gemini during his run of hits, “\u003ca href=\"https://www.youtube.com/watch?v=X8LUd51IuiA\" target=\"_blank\" rel=\"noopener\">Gas Pedal\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-I-YY5p0uq8\" target=\"_blank\" rel=\"noopener\">Red Nose,\u003c/a>” as well as “\u003ca href=\"https://www.youtube.com/watch?v=80seHo0DHyo\" target=\"_blank\" rel=\"noopener\">Panoramic\u003c/a>” rapper Dmac and San Francisco’s \u003ca href=\"https://www.instagram.com/showy4mayor/?hl=en\" target=\"_blank\" rel=\"noopener\">Show Banga\u003c/a>.\u003c/p>\n\u003cp>Carriér was already into making hip-hop music when he got his first taste of acting as a student at Fairfield’s Armijo High School. He credits a former teacher, Mr. Brown, who Carriér describes as an “old school Broadway theatrical guy,” for pushing him to find other ways to showcase his talents. “\u003cspan style=\"font-weight: 400\">He introduced me to a lot of key factors of theater,” says Carriér during a recent phone call. “\u003c/span>\u003cspan style=\"font-weight: 400\">I started feeling like, let me learn more about this stuff.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér got the opportunity to show his acting skills on the heels of releasing a music project a few years ago; he and Shelton originally connected because she wanted to write about his music. The two stayed in contact, and when it was time to turn her blog into a streaming series, Shelton reached out to Carriér again. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">‘d n\u003c/span>\u003cspan style=\"font-weight: 400\">ever heard someone doing that before, not locally,” Carriér says of Shelton’s dream to create a show. \u003c/span>\u003cspan style=\"font-weight: 400\">Carriér was excited to come onboard, but scheduling conflicts didn’t allow him to be as immersed in the first season as he would’ve liked. \u003c/span>\u003c/p>\n\u003cp>In the third season, \u003cspan style=\"font-weight: 400\">Carriér has a reoccurring role as a playboy-type rapper named Passion. And behind the scenes, Carriér worked alongside Shelton and assistant director \u003ca href=\"https://www.instagram.com/laurenrascoe/\" target=\"_blank\" rel=\"noopener\">Lauren Rascoe\u003c/a> to get hands-on experience as a director and producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What’s more, Carriér says, is that the show has opened doors for him in the entertainment industry. This year, he’s done work with Keke Palmer’s KeyTV network and has worked on a spot for Reebok. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Because of this show,” says Carriér, “I’ve been able to showcase my talents and get more opportunities.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966318\" class=\"wp-caption aligncenter\" style=\"max-width: 2248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg\" alt=\"T. Carriér performing at The New Parish in Oakland.\" width=\"2248\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg 2248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1920x1281.jpg 1920w\" sizes=\"(max-width: 2248px) 100vw, 2248px\">\u003cfigcaption class=\"wp-caption-text\">T. Carriér performing at The New Parish in Oakland. \u003ccite>(Dominique Washington )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This growth in the world of acting comes at a trying time for Carriér, who lost his mother this past summer. After her death, he recommitted himself to going hard for his family and pursuing his dreams of being an entertainer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last month he dropped \u003ca href=\"https://distrokid.com/hyperfollow/tcarrir/strength?utm_campaign=website&utm_medium=Email+&utm_source=SendGrid\" target=\"_blank\" rel=\"noopener\">an eight-song EP titled \u003cem>Strength\u003c/em>\u003c/a>, and he’s on the verge of following up this month with another project called \u003cem>Focus\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With even more music and future acting gigs on the horizon, Carriér reflects on the driving force behind his latest push: “I promised [my mom], from this moment, that I got us. At this point I’m just trying to stand on that.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a humble tone, he says his goal is to “demonstrate some sort of strength and resilience” for his family, as his mother’s passing left them all with a gaping hole. \u003c/span>\u003cspan style=\"font-weight: 400\">“Now I have to assume that role,” says Carriér. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér’s determination to succeed in turn has supported Shelton’s dream of being a writer, and vice versa. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This symbiotic relationship illustrates how it’s bigger than a dramatic series about trashy dating experiences. It’s even bigger than putting on for the Bay. It’s honestly about fostering a supportive creative community and supporting one another as we move toward a common goal. There’s nothing \u003cem>reckless\u003c/em> about that. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The team behind ‘Reckless Behavior’ will hold a pre-screening of season three this Friday, Oct. 11, at Oakland’s Destiny Arts Center. \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">Details and tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966239/dating-in-the-bay-reckless-behavior-show-tubi",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_8505",
"arts_10278",
"arts_5422"
],
"featImg": "arts_13966302",
"label": "arts_140"
},
"arts_13965841": {
"type": "posts",
"id": "arts_13965841",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13965841",
"score": null,
"sort": [
1727721644000
]
},
"guestAuthors": [],
"slug": "industry-season-3-hbo-max-analysis-summary-soap-myhala-abela",
"title": "‘Industry’ Got Pulpier, Nastier and Better in Season 3",
"publishDate": 1727721644,
"format": "standard",
"headTitle": "‘Industry’ Got Pulpier, Nastier and Better in Season 3 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>This piece contains spoilers for \u003c/em>Industry \u003cem>Season 3\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Even by the standards of an inherently stressful show like \u003ca href=\"https://www.npr.org/2024/08/07/nx-s1-5064320/hbo-industry-season-3\">HBO’s \u003cem>Industry\u003c/em>\u003c/a>, Sunday night’s Season 3 finale was an absolutely diabolical doozy, the kind of conclusion that makes you sit up in your seat and yell at the screen, \u003cem>“Holy ****!!!”\u003c/em>\u003c/p>\n\u003cp>Scrappy and utterly ruthless trader \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">Harper\u003c/a> (Myha’la) managed to claw her way into a partnership with a mega-powerful and equally unscrupulous financier while scratching everyone in her path. Try as she might’ve to avoid it, socialite Yasmin (Marisa Abela) stepped fully into her fate by getting engaged to the man-child tech billionaire Sir Henry Muck (Kit Harington, aka \u003ca href=\"https://www.npr.org/2016/04/22/475261626/we-know-nothing-about-jon-snow-as-game-of-thrones-returns\">Jon Snow\u003c/a>), breaking Robert’s heart in the process. And time was finally up for managing director Eric (Ken Leung), as he was told by Pierpoint & Co.’s CFO that “there’s no business need” for him now that the company’s been bought by Egyptian investment firm Al-Mi’raj.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fV6BGl2YA04\u003c/p>\n\u003cp>From the beginning, Mickey Down and Konrad Kay’s \u003cem>Industry \u003c/em>has explored familiar — though no less enticing — prestige-TV themes around survival in a cutthroat workplace and ever-compromised morals among the filthy rich and those aspiring to be filthy rich. It’s often somewhat lazily compared to \u003cem>Succession\u003c/em>, and has sometimes courted or at least acknowledged the comparison. (Eric to Rishi in Season 2: “\u003ca href=\"https://www.tiktok.com/@hbo/video/7146623348439649578?lang=en\">Any particular reason you’re dressed as Kendall Roy?\u003c/a>”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Industry \u003c/em>is in its own lane, pulpier and seedier than the classical overtures of the Roy family, and Season 3 really leaned into the muck for the better. In the sixth episode, frenemies Harper and Yas engaged in a scathing war of words which climaxed in a ferocious exchange of slaps; it was a long time coming, and the daggers they hurled at one another were top-notch, \u003cem>Dynasty\u003c/em>-esque, worthy of a primetime Shonda Rhimes melodrama.\u003c/p>\n\u003cp>[aside postid='arts_13965835']And in the finale, Rishi (Sagar Radia), the uncouth Alpha-male trader who’s emerged from the show’s periphery, suffered the bleakest of consequences, for an out-of-control gambling addiction: His estranged wife was murdered right in front of him by the loan shark he’s indebted to.\u003c/p>\n\u003cp>In fact, death loomed over this season in several ways. The most protracted and melodramatic among them was the ripped-from-the-headlines plot concerning Yas’s repulsive dad Charles, whose character appears to be drawn from the bios of both \u003ca href=\"https://www.kqed.org/arts/13882981/epstein-confidante-ghislaine-maxwell-is-unlike-any-enabler-weve-seen-before\">Jeffrey Epstein and Ghislaine Maxwell\u003c/a>’s media magnate father Robert Maxwell. The series cultivated an air of suspicion surrounding Charles’ disappearance from the party yacht, doling out the details of what occurred in piecemeal flashbacks over the course of several episodes.\u003c/p>\n\u003cfigure id=\"attachment_13965849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png\" alt=\"A white man and woman walk the grounds of a stately home.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1920x1278.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Harry Lawtey) and Yasmin (Marisa Abela). \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yas was on the yacht with him that day, despite claiming to want “nothing to do with him” at the end of Season 2 once she learned about his pattern of inappropriate affairs with younger women. (Including her childhood nanny, a teen at the time.) Maybe, as she very guiltily “joked” to Robert at one point, she killed him; or maybe, like the British tabloids suggested, she’d helped him hide out to avoid dealing with the consequences of his embezzlement. In the end, Yas didn’t push Charles overboard that yacht, but she did watch him drown without trying to save him. That’s \u003cem>dark\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13964217']This is the kind of sweeps-week storyline (remember those?) that could elicit groans for seeming cheaply manipulative, but \u003cem>Industry \u003c/em>is a show where everyone and everything is connected and no relationship, no matter how unhinged, is superfluous. Harper’s presence aboard the yacht and her knowledge of what went down adds color to their rocky history as former adversaries at Pierpoint and on-and-off again friends; it’s meaningful that one of the show’s most \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">unabashedly opportunistic characters\u003c/a> cared enough to keep Yas’ secret.\u003c/p>\n\u003cp>Which is why it’s poetic (and disappointing) that Yas ultimately wound up getting engaged to a version of her father – Henry, like Charles, was accused of sleeping with his employees. The continuous comforts of material luxury and guaranteed financial security proved too alluring to relinquish. One of \u003cem>Industry\u003c/em>’s most engrossing recurring subjects is generational divides — and their limits. The show is an early depiction of Gen Z in the corporate space, and characters’ actions show that for all the relatively progressive ideals of youth, the influence of elders (and capitalism) is strong.\u003c/p>\n\u003cfigure id=\"attachment_13965850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965850\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png\" alt=\"A middle aged Asian man stands in the lobby of a glass office building.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1920x1274.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Leung as Eric. \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Eric spent much of this season lecturing the younger cohort in his orbit — former mentee Harper, Yas, and even millennial Rishi — about “ethics” and the very dangerous risks they were taking in the business. Yet this is the same guy who intimidatingly carries a baseball bat around the sales floor, does coke with his direct reports (he hooked up with Yas’ lawyer!), and on more than one occasion has exploited and sabotaged his colleagues to stay afloat at Pierpoint.\u003c/p>\n\u003cp>[aside postid='arts_13963775']When he admonished Harper for treating everyone, including Yas, as collateral on her road to domination, it was refreshing to hear Harper make plain \u003cem>Industry\u003c/em>’s M.O.: “Everything you do on the floor communicates an ideology that people are a means to an end! I enact \u003cem>your\u003c/em> philosophy and you have the nerve to come into my office and call \u003cem>me\u003c/em> a bad person?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’re both right, of course. And that’s the beauty of \u003cem>Industry\u003c/em>, which has been mercifully renewed for a fourth season. It’s a show less concerned with characters who are easily “likable” or “despicable.” What matters is they are individuals with clear ambitions and unique strategies for getting what they aim for — and this makes them endlessly watchable.\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Industry’ is less concerned with whether its characters are ‘likable’ and more interested in how they get what they want.",
"status": "publish",
"parent": 0,
"modified": 1727721644,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1033
},
"headData": {
"title": "Season 3 of Max’s ‘Industry’ Was the Best One Yet | KQED",
"description": "‘Industry’ is less concerned with whether its characters are ‘likable’ and more interested in how they get what they want.",
"ogTitle": "‘Industry’ Got Pulpier, Nastier, and Better in Season 3",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Industry’ Got Pulpier, Nastier, and Better in Season 3",
"twDescription": "",
"twImgId": "",
"socialTitle": "Season 3 of Max’s ‘Industry’ Was the Best One Yet %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Industry’ Got Pulpier, Nastier and Better in Season 3",
"datePublished": "2024-09-30T11:40:44-07:00",
"dateModified": "2024-09-30T11:40:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Aisha Harris, NPR",
"nprStoryId": "nx-s1-5104154",
"nprHtmlLink": "https://www.npr.org/2024/09/27/nx-s1-5104154/hbo-industry-season-3-finale",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-29T23:30:00-04:00",
"nprStoryDate": "2024-09-29T23:30:00-04:00",
"nprLastModifiedDate": "2024-09-30T11:13:04.364-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13965841/industry-season-3-hbo-max-analysis-summary-soap-myhala-abela",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece contains spoilers for \u003c/em>Industry \u003cem>Season 3\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Even by the standards of an inherently stressful show like \u003ca href=\"https://www.npr.org/2024/08/07/nx-s1-5064320/hbo-industry-season-3\">HBO’s \u003cem>Industry\u003c/em>\u003c/a>, Sunday night’s Season 3 finale was an absolutely diabolical doozy, the kind of conclusion that makes you sit up in your seat and yell at the screen, \u003cem>“Holy ****!!!”\u003c/em>\u003c/p>\n\u003cp>Scrappy and utterly ruthless trader \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">Harper\u003c/a> (Myha’la) managed to claw her way into a partnership with a mega-powerful and equally unscrupulous financier while scratching everyone in her path. Try as she might’ve to avoid it, socialite Yasmin (Marisa Abela) stepped fully into her fate by getting engaged to the man-child tech billionaire Sir Henry Muck (Kit Harington, aka \u003ca href=\"https://www.npr.org/2016/04/22/475261626/we-know-nothing-about-jon-snow-as-game-of-thrones-returns\">Jon Snow\u003c/a>), breaking Robert’s heart in the process. And time was finally up for managing director Eric (Ken Leung), as he was told by Pierpoint & Co.’s CFO that “there’s no business need” for him now that the company’s been bought by Egyptian investment firm Al-Mi’raj.\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/fV6BGl2YA04'\n title='//www.youtube.com/embed/fV6BGl2YA04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the beginning, Mickey Down and Konrad Kay’s \u003cem>Industry \u003c/em>has explored familiar — though no less enticing — prestige-TV themes around survival in a cutthroat workplace and ever-compromised morals among the filthy rich and those aspiring to be filthy rich. It’s often somewhat lazily compared to \u003cem>Succession\u003c/em>, and has sometimes courted or at least acknowledged the comparison. (Eric to Rishi in Season 2: “\u003ca href=\"https://www.tiktok.com/@hbo/video/7146623348439649578?lang=en\">Any particular reason you’re dressed as Kendall Roy?\u003c/a>”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Industry \u003c/em>is in its own lane, pulpier and seedier than the classical overtures of the Roy family, and Season 3 really leaned into the muck for the better. In the sixth episode, frenemies Harper and Yas engaged in a scathing war of words which climaxed in a ferocious exchange of slaps; it was a long time coming, and the daggers they hurled at one another were top-notch, \u003cem>Dynasty\u003c/em>-esque, worthy of a primetime Shonda Rhimes melodrama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965835",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And in the finale, Rishi (Sagar Radia), the uncouth Alpha-male trader who’s emerged from the show’s periphery, suffered the bleakest of consequences, for an out-of-control gambling addiction: His estranged wife was murdered right in front of him by the loan shark he’s indebted to.\u003c/p>\n\u003cp>In fact, death loomed over this season in several ways. The most protracted and melodramatic among them was the ripped-from-the-headlines plot concerning Yas’s repulsive dad Charles, whose character appears to be drawn from the bios of both \u003ca href=\"https://www.kqed.org/arts/13882981/epstein-confidante-ghislaine-maxwell-is-unlike-any-enabler-weve-seen-before\">Jeffrey Epstein and Ghislaine Maxwell\u003c/a>’s media magnate father Robert Maxwell. The series cultivated an air of suspicion surrounding Charles’ disappearance from the party yacht, doling out the details of what occurred in piecemeal flashbacks over the course of several episodes.\u003c/p>\n\u003cfigure id=\"attachment_13965849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png\" alt=\"A white man and woman walk the grounds of a stately home.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1920x1278.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Harry Lawtey) and Yasmin (Marisa Abela). \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yas was on the yacht with him that day, despite claiming to want “nothing to do with him” at the end of Season 2 once she learned about his pattern of inappropriate affairs with younger women. (Including her childhood nanny, a teen at the time.) Maybe, as she very guiltily “joked” to Robert at one point, she killed him; or maybe, like the British tabloids suggested, she’d helped him hide out to avoid dealing with the consequences of his embezzlement. In the end, Yas didn’t push Charles overboard that yacht, but she did watch him drown without trying to save him. That’s \u003cem>dark\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964217",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This is the kind of sweeps-week storyline (remember those?) that could elicit groans for seeming cheaply manipulative, but \u003cem>Industry \u003c/em>is a show where everyone and everything is connected and no relationship, no matter how unhinged, is superfluous. Harper’s presence aboard the yacht and her knowledge of what went down adds color to their rocky history as former adversaries at Pierpoint and on-and-off again friends; it’s meaningful that one of the show’s most \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">unabashedly opportunistic characters\u003c/a> cared enough to keep Yas’ secret.\u003c/p>\n\u003cp>Which is why it’s poetic (and disappointing) that Yas ultimately wound up getting engaged to a version of her father – Henry, like Charles, was accused of sleeping with his employees. The continuous comforts of material luxury and guaranteed financial security proved too alluring to relinquish. One of \u003cem>Industry\u003c/em>’s most engrossing recurring subjects is generational divides — and their limits. The show is an early depiction of Gen Z in the corporate space, and characters’ actions show that for all the relatively progressive ideals of youth, the influence of elders (and capitalism) is strong.\u003c/p>\n\u003cfigure id=\"attachment_13965850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965850\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png\" alt=\"A middle aged Asian man stands in the lobby of a glass office building.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1920x1274.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Leung as Eric. \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Eric spent much of this season lecturing the younger cohort in his orbit — former mentee Harper, Yas, and even millennial Rishi — about “ethics” and the very dangerous risks they were taking in the business. Yet this is the same guy who intimidatingly carries a baseball bat around the sales floor, does coke with his direct reports (he hooked up with Yas’ lawyer!), and on more than one occasion has exploited and sabotaged his colleagues to stay afloat at Pierpoint.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963775",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When he admonished Harper for treating everyone, including Yas, as collateral on her road to domination, it was refreshing to hear Harper make plain \u003cem>Industry\u003c/em>’s M.O.: “Everything you do on the floor communicates an ideology that people are a means to an end! I enact \u003cem>your\u003c/em> philosophy and you have the nerve to come into my office and call \u003cem>me\u003c/em> a bad person?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’re both right, of course. And that’s the beauty of \u003cem>Industry\u003c/em>, which has been mercifully renewed for a fourth season. It’s a show less concerned with characters who are easily “likable” or “despicable.” What matters is they are individuals with clear ambitions and unique strategies for getting what they aim for — and this makes them endlessly watchable.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13965841/industry-season-3-hbo-max-analysis-summary-soap-myhala-abela",
"authors": [
"byline_arts_13965841"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8905",
"arts_8350",
"arts_20624",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13965851",
"label": "arts_137"
},
"arts_13965835": {
"type": "posts",
"id": "arts_13965835",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13965835",
"score": null,
"sort": [
1727719692000
]
},
"guestAuthors": [
{
"ID": "13818263",
"displayName": "Eric Deggans",
"firstName": "Eric",
"lastName": "Deggans",
"userLogin": "eric-deggans",
"userEmail": "",
"linkedAccount": "",
"website": "https://www.npr.org/people/243254424/eric-deggans",
"description": "",
"userNicename": "eric-deggans",
"type": "guest-author",
"nickname": ""
}
],
"slug": "snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin",
"title": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
"publishDate": 1727719692,
"format": "standard",
"headTitle": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>As a comedy nerd who has watched \u003cem>Saturday Night Live\u003c/em> since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced \u003cem>SNL\u003c/em> has had a profound impact on how America views politics.\u003c/p>\n\u003cp>But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth — it all seems like stuff which would have been in sketches years ago, instead of real life.\u003c/p>\n\u003cp>[aside postid='arts_13965683']As a historic election looms, and the show begins its landmark 50th season this week, \u003cem>SNL\u003c/em> faces an ongoing challenge: to make America laugh — and think differently — about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.\u003c/p>\n\u003cp>Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running from the very start of the new season.\u003c/p>\n\u003ch3>A political impact from the beginning\u003c/h3>\n\u003cp>I decided to bounce some of my harebrained theories about \u003cem>SNL\u003c/em>’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Franken \u003ca href=\"https://www.npr.org/2017/12/07/568909860/sen-al-franken-to-make-announcement-amid-calls-for-him-to-resign\">\u003cu>resigned from the Senate in 2018\u003c/u>\u003c/a> amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\">\u003cu>said he regrets resigning the office\u003c/u>\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nEIpAIqzbTg\u003c/p>\n\u003cp>When it came to political satire, Franken says he and his fellow \u003cem>SNL\u003c/em> writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little — and a lot — about politics.\u003c/p>\n\u003cp>“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.\u003c/p>\n\u003cp>[aside postid='arts_13965548']Quoting another legendary \u003cem>SNL\u003c/em> writer, Jim Downey, he adds, “We just tried to do stuff … that would reward people for knowing stuff, but not punish them for not … Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”\u003c/p>\n\u003ch3>‘SNL’ shapes our view of politicians through impressions\u003c/h3>\n\u003cp>When \u003cem>Saturday Night Live\u003c/em> nails an impression of a politician, it manages a unique alchemy — elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSOLz1YBFG0&t=77s\u003c/p>\n\u003cp>When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” — one of the jokes Fey’s Palin announces during a speech that the real Palin never said.\u003c/p>\n\u003cp>Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase \u003ca href=\"https://youtu.be/nEIpAIqzbTg?si=RV7AOhoy6NgmFPK3\">\u003cu>played him\u003c/u>\u003c/a> in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter — nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Ooq_j89WOw\u003c/p>\n\u003cp>And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zDgRRVpemLo\u003c/p>\n\u003ch3>But sometimes impressions aren’t enough\u003c/h3>\n\u003cp>Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.\u003c/p>\n\u003cp>When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FEH9iqWm_xQ\u003c/p>\n\u003cp>The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s \u003ca href=\"https://youtu.be/R3N6Iqp8QIk?si=SbMxBNUjiMuCthQo\">\u003cu>stream of consciousness patter\u003c/u>\u003c/a>, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.\u003c/p>\n\u003cp>This weekend at least, Maya Rudolph was ready to nail Harris’ coolly efficient power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pg4Z1M_GjhQ\u003c/p>\n\u003ch3>Helping the audience process political ideas beyond impressions\u003c/h3>\n\u003cp>There have been impactful \u003cem>SNL\u003c/em> sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.\u003c/p>\n\u003cp>One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle — as Black men familiar with America’s hypocrisies — are not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHG0ezLiVGc&t=158s\u003c/p>\n\u003ch3>When politicians appear as themselves\u003c/h3>\n\u003cp>Particularly before the rise of social media, the best way a politician could try to get ahead of how \u003cem>SNL\u003c/em> portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.\u003c/p>\n\u003cp>McCain, who called \u003cem>Saturday Night Live\u003c/em> creator and showrunner Lorne Michaels\u003ca href=\"https://x.com/senjohnmccain/status/402184925756928000\">\u003cu> a friend\u003c/u>\u003c/a>, delivered one of the most notable cameos. He kicked off the \u003cem>SNL\u003c/em> episode right before the presidential election in November 2008 with an appearance where the senator — flanked by Fey as Palin and his actual wife, Cindy — hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would \u003ca href=\"https://www.newsweek.com/donald-trump-watches-bibles-coins-1960247\">\u003cu>do it for real\u003c/u>\u003c/a> with his own Bibles and luxury watches.\u003c/p>\n\u003cp>https://youtu.be/pix6pJUW5-s?si=P1V3MCCJ7xgALbqp\u003c/p>\n\u003cp>But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Franken says he impulsively asked Nessen to host the show at an event for Ford — later, he says, Michaels reminded him that handing out host invites was not his job — but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan … They hated it.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "As a historic election looms, ‘Saturday Night Live’ — now in its 50th season — faces an ongoing challenge to make America laugh.",
"status": "publish",
"parent": 0,
"modified": 1727719692,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1464
},
"headData": {
"title": "SNL’s Best Political Impersonations of all Time | KQED",
"description": "As a historic election looms, ‘Saturday Night Live’ — now in its 50th season — faces an ongoing challenge to make America laugh.",
"ogTitle": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
"twDescription": "",
"twImgId": "",
"socialTitle": "SNL’s Best Political Impersonations of all Time %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
"datePublished": "2024-09-30T11:08:12-07:00",
"dateModified": "2024-09-30T11:08:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Eric Deggans, NPR",
"nprStoryId": "nx-s1-5123455",
"nprHtmlLink": "https://www.npr.org/2024/09/27/nx-s1-5123455/snl-saturday-night-live-new-season-50-season",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-28T08:00:00-04:00",
"nprStoryDate": "2024-09-28T08:00:00-04:00",
"nprLastModifiedDate": "2024-09-28T09:15:33.555-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a comedy nerd who has watched \u003cem>Saturday Night Live\u003c/em> since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced \u003cem>SNL\u003c/em> has had a profound impact on how America views politics.\u003c/p>\n\u003cp>But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth — it all seems like stuff which would have been in sketches years ago, instead of real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965683",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As a historic election looms, and the show begins its landmark 50th season this week, \u003cem>SNL\u003c/em> faces an ongoing challenge: to make America laugh — and think differently — about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.\u003c/p>\n\u003cp>Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running from the very start of the new season.\u003c/p>\n\u003ch3>A political impact from the beginning\u003c/h3>\n\u003cp>I decided to bounce some of my harebrained theories about \u003cem>SNL\u003c/em>’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.\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>(Franken \u003ca href=\"https://www.npr.org/2017/12/07/568909860/sen-al-franken-to-make-announcement-amid-calls-for-him-to-resign\">\u003cu>resigned from the Senate in 2018\u003c/u>\u003c/a> amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\">\u003cu>said he regrets resigning the office\u003c/u>\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nEIpAIqzbTg'\n title='//www.youtube.com/embed/nEIpAIqzbTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it came to political satire, Franken says he and his fellow \u003cem>SNL\u003c/em> writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little — and a lot — about politics.\u003c/p>\n\u003cp>“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965548",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Quoting another legendary \u003cem>SNL\u003c/em> writer, Jim Downey, he adds, “We just tried to do stuff … that would reward people for knowing stuff, but not punish them for not … Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”\u003c/p>\n\u003ch3>‘SNL’ shapes our view of politicians through impressions\u003c/h3>\n\u003cp>When \u003cem>Saturday Night Live\u003c/em> nails an impression of a politician, it manages a unique alchemy — elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.\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/vSOLz1YBFG0'\n title='//www.youtube.com/embed/vSOLz1YBFG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” — one of the jokes Fey’s Palin announces during a speech that the real Palin never said.\u003c/p>\n\u003cp>Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase \u003ca href=\"https://youtu.be/nEIpAIqzbTg?si=RV7AOhoy6NgmFPK3\">\u003cu>played him\u003c/u>\u003c/a> in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter — nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.\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/-Ooq_j89WOw'\n title='//www.youtube.com/embed/-Ooq_j89WOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.\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/zDgRRVpemLo'\n title='//www.youtube.com/embed/zDgRRVpemLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>But sometimes impressions aren’t enough\u003c/h3>\n\u003cp>Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.\u003c/p>\n\u003cp>When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FEH9iqWm_xQ'\n title='//www.youtube.com/embed/FEH9iqWm_xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s \u003ca href=\"https://youtu.be/R3N6Iqp8QIk?si=SbMxBNUjiMuCthQo\">\u003cu>stream of consciousness patter\u003c/u>\u003c/a>, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.\u003c/p>\n\u003cp>This weekend at least, Maya Rudolph was ready to nail Harris’ coolly efficient power.\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/pg4Z1M_GjhQ'\n title='//www.youtube.com/embed/pg4Z1M_GjhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Helping the audience process political ideas beyond impressions\u003c/h3>\n\u003cp>There have been impactful \u003cem>SNL\u003c/em> sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.\u003c/p>\n\u003cp>One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle — as Black men familiar with America’s hypocrisies — are not.\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/SHG0ezLiVGc'\n title='//www.youtube.com/embed/SHG0ezLiVGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>When politicians appear as themselves\u003c/h3>\n\u003cp>Particularly before the rise of social media, the best way a politician could try to get ahead of how \u003cem>SNL\u003c/em> portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.\u003c/p>\n\u003cp>McCain, who called \u003cem>Saturday Night Live\u003c/em> creator and showrunner Lorne Michaels\u003ca href=\"https://x.com/senjohnmccain/status/402184925756928000\">\u003cu> a friend\u003c/u>\u003c/a>, delivered one of the most notable cameos. He kicked off the \u003cem>SNL\u003c/em> episode right before the presidential election in November 2008 with an appearance where the senator — flanked by Fey as Palin and his actual wife, Cindy — hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would \u003ca href=\"https://www.newsweek.com/donald-trump-watches-bibles-coins-1960247\">\u003cu>do it for real\u003c/u>\u003c/a> with his own Bibles and luxury watches.\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/pix6pJUW5-s'\n title='//www.youtube.com/embed/pix6pJUW5-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”\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>Franken says he impulsively asked Nessen to host the show at an event for Ford — later, he says, Michaels reminded him that handing out host invites was not his job — but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan … They hated it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin",
"authors": [
"byline_arts_13965835"
],
"categories": [
"arts_1",
"arts_968",
"arts_75",
"arts_990"
],
"tags": [
"arts_22277",
"arts_8480",
"arts_5826",
"arts_9247"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13965836",
"label": "arts_137"
},
"arts_13965673": {
"type": "posts",
"id": "arts_13965673",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13965673",
"score": null,
"sort": [
1727460829000
]
},
"guestAuthors": [],
"slug": "maggie-smith-obituary-scene-stealing-one-liners-downton-abbey-harry-potter",
"title": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ and Harry Potter, Dies at 89",
"publishDate": 1727460829,
"format": "standard",
"headTitle": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ and Harry Potter, Dies at 89 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Maggie Smith, the masterful, scene-stealing actor who won an Oscar for 1969 film \u003cem>The Prime of Miss Jean Brodie\u003c/em> and gained new fans in the 21st century as the dowager Countess of Grantham in \u003cem>Downton Abbey\u003c/em> and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.\u003c/p>\n\u003cp>Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.\u003c/p>\n\u003cp>“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.\u003c/p>\n\u003cp>Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with two Oscars, a clutch of Academy Award nominations and a shelf full of acting trophies.\u003c/p>\n\u003cp>She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Tpb1XyqGOQ\u003c/p>\n\u003cp>Richard Eyre, who directed Smith in a television production of \u003cem>Suddenly, Last Summer\u003c/em>, said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”\u003c/p>\n\u003cp>\u003cem>Jean Brodie\u003c/em>, in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well.\u003c/p>\n\u003cp>Smith added a supporting actress Oscar for \u003cem>California Suite\u003c/em> in 1978, Golden Globes for \u003cem>California Suite\u003c/em> and \u003cem>A Room with a View\u003c/em>, and BAFTAs for lead actress in \u003cem>A Private Function\u003c/em> in 1984, \u003cem>A Room with a View\u003c/em> in 1986 and \u003cem>The Lonely Passion of Judith Hearne\u003c/em> in 1988.\u003c/p>\n\u003cp>She also received Academy Award nominations as a supporting actress in \u003cem>Othello\u003c/em>, \u003cem>Travels with My Aunt\u003c/em>, \u003cem>A Room with a View\u003c/em> and \u003cem>Gosford Park\u003c/em>, and a BAFTA award for supporting actress in \u003cem>Tea with Mussolini\u003c/em>. On stage, she won a Tony in 1990 for \u003cem>Lettice and Lovage\u003c/em>.\u003c/p>\n\u003cp>From 2010, she was the acid-tongued Violet Crawley, Dowager Countess of Grantham, in hit TV period drama \u003cem>Downton Abbey\u003c/em>, a role that won her legions of fans, three Emmy Awards, a Golden Globe and a host of other awards nominations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-kobB4Q5qO8\u003c/p>\n\u003cp>But she chafed at television fame. When the show’s run ended in 2016, Smith said she was relieved. “It’s freedom,” she told The Associated Press.\u003c/p>\n\u003cp>“Not until \u003cem>Downton Abbey\u003c/em> was I well-known or stopped in the street and asked for one of those terrible photographs,” she said.\u003c/p>\n\u003cp>She continued acting well into her 80s, in films including the big-screen spinoff to \u003cem>Downton Abbey\u003c/em> in 2019, its 2022 sequel \u003cem>Downton Abbey: A New Era\u003c/em> and 2023 release \u003cem>The Miracle Club\u003c/em>.\u003c/p>\n\u003cp>Smith had a reputation for being difficult, and sometimes upstaging others.\u003c/p>\n\u003cp>Richard Burton remarked that Smith didn’t just take over a scene in \u003cem>The VIPs\u003c/em> with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”\u003c/p>\n\u003cp>Smith conceded that she could be impatient at times.\u003c/p>\n\u003cp>“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”\u003c/p>\n\u003cp>Critic Frank Rich, in a \u003cem>New York Times\u003c/em> review of \u003cem>Lettice and Lovage\u003c/em>, praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”\u003c/p>\n\u003cp>Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s \u003cem>Hay Fever\u003c/em>.\u003c/p>\n\u003cp>She repeated the gift for one-liners in \u003cem>Downton Abbey\u003c/em>, when the tradition-bound Violet witheringly asked, “What is a weekend?”\u003c/p>\n\u003cp>Fellow actors paid tribute to her on Friday. Hugh Bonneville, who played the son of Smith’s character in \u003cem>Downton Abbey\u003c/em>, said “anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.”\u003c/p>\n\u003cp>“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances,” he said in a statement.\u003c/p>\n\u003cp>https://twitter.com/RobLowe/status/1839668066793423319\u003c/p>\n\u003cp>Rob Lowe, who co-starred with her in \u003cem>Suddenly, Last Summer\u003c/em>, said the experience was “unforgettable … sharing a two-shot was like being paired with a lion.”\u003c/p>\n\u003cp>“She could eat anyone alive, and often did. But funny, and great company. And suffered no fools. We will never see another. God speed, Ms. Smith!” Lowe wrote on X.\u003c/p>\n\u003cp>Prime Minister Keir Starmer called Smith “a true national treasure whose work will be cherished for generations to come.”\u003c/p>\n\u003cp>Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”\u003c/p>\n\u003cp>Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.\u003c/p>\n\u003cp>“I did so many things, you know, round the universities there … If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.\u003c/p>\n\u003cp>She took Maggie as her stage name because another Margaret Smith was active in the theater.\u003c/p>\n\u003cp>Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.\u003c/p>\n\u003cp>Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”\u003c/p>\n\u003cp>“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett. He also wrote a starring role for Smith in \u003cem>The Lady in the Van\u003c/em>, as Miss Shepherd, a redoubtable woman who lived for years in her vehicle on Bennett’s London driveway.\u003c/p>\n\u003cp>However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.\u003c/p>\n\u003cp>“She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear,” said Simon Callow, who performed with her in \u003cem>A Room with a View\u003c/em>.\u003c/p>\n\u003cp>Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.\u003c/p>\n\u003cp>She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby — who both grew up to be actors — and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hilary Fox in London contributed to this story. Associated Press writer Robert Barr contributed biographical material to this obituary before his death in 2018.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Smith died early Friday in a London hospital, leaving behind a legacy of iconic roles and unforgettable one-liners.",
"status": "publish",
"parent": 0,
"modified": 1727624499,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 41,
"wordCount": 1336
},
"headData": {
"title": "Tributes to Maggie Smith Pour in After Her Death at Age 89 | KQED",
"description": "Smith died early Friday in a London hospital, leaving behind a legacy of iconic roles and unforgettable one-liners.",
"ogTitle": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ Dies at 89",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ Dies at 89",
"twDescription": "",
"twImgId": "",
"socialTitle": "Tributes to Maggie Smith Pour in After Her Death at Age 89 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ and Harry Potter, Dies at 89",
"datePublished": "2024-09-27T11:13:49-07:00",
"dateModified": "2024-09-29T08:41:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jill Lawless, Associated Press",
"nprStoryId": "kqed-13965673",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13965673/maggie-smith-obituary-scene-stealing-one-liners-downton-abbey-harry-potter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Smith, the masterful, scene-stealing actor who won an Oscar for 1969 film \u003cem>The Prime of Miss Jean Brodie\u003c/em> and gained new fans in the 21st century as the dowager Countess of Grantham in \u003cem>Downton Abbey\u003c/em> and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.\u003c/p>\n\u003cp>Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.\u003c/p>\n\u003cp>“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.\u003c/p>\n\u003cp>Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with two Oscars, a clutch of Academy Award nominations and a shelf full of acting trophies.\u003c/p>\n\u003cp>She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”\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>Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”\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/2Tpb1XyqGOQ'\n title='//www.youtube.com/embed/2Tpb1XyqGOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Richard Eyre, who directed Smith in a television production of \u003cem>Suddenly, Last Summer\u003c/em>, said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”\u003c/p>\n\u003cp>\u003cem>Jean Brodie\u003c/em>, in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well.\u003c/p>\n\u003cp>Smith added a supporting actress Oscar for \u003cem>California Suite\u003c/em> in 1978, Golden Globes for \u003cem>California Suite\u003c/em> and \u003cem>A Room with a View\u003c/em>, and BAFTAs for lead actress in \u003cem>A Private Function\u003c/em> in 1984, \u003cem>A Room with a View\u003c/em> in 1986 and \u003cem>The Lonely Passion of Judith Hearne\u003c/em> in 1988.\u003c/p>\n\u003cp>She also received Academy Award nominations as a supporting actress in \u003cem>Othello\u003c/em>, \u003cem>Travels with My Aunt\u003c/em>, \u003cem>A Room with a View\u003c/em> and \u003cem>Gosford Park\u003c/em>, and a BAFTA award for supporting actress in \u003cem>Tea with Mussolini\u003c/em>. On stage, she won a Tony in 1990 for \u003cem>Lettice and Lovage\u003c/em>.\u003c/p>\n\u003cp>From 2010, she was the acid-tongued Violet Crawley, Dowager Countess of Grantham, in hit TV period drama \u003cem>Downton Abbey\u003c/em>, a role that won her legions of fans, three Emmy Awards, a Golden Globe and a host of other awards nominations.\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/-kobB4Q5qO8'\n title='//www.youtube.com/embed/-kobB4Q5qO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But she chafed at television fame. When the show’s run ended in 2016, Smith said she was relieved. “It’s freedom,” she told The Associated Press.\u003c/p>\n\u003cp>“Not until \u003cem>Downton Abbey\u003c/em> was I well-known or stopped in the street and asked for one of those terrible photographs,” she said.\u003c/p>\n\u003cp>She continued acting well into her 80s, in films including the big-screen spinoff to \u003cem>Downton Abbey\u003c/em> in 2019, its 2022 sequel \u003cem>Downton Abbey: A New Era\u003c/em> and 2023 release \u003cem>The Miracle Club\u003c/em>.\u003c/p>\n\u003cp>Smith had a reputation for being difficult, and sometimes upstaging others.\u003c/p>\n\u003cp>Richard Burton remarked that Smith didn’t just take over a scene in \u003cem>The VIPs\u003c/em> with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”\u003c/p>\n\u003cp>Smith conceded that she could be impatient at times.\u003c/p>\n\u003cp>“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”\u003c/p>\n\u003cp>Critic Frank Rich, in a \u003cem>New York Times\u003c/em> review of \u003cem>Lettice and Lovage\u003c/em>, praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”\u003c/p>\n\u003cp>Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s \u003cem>Hay Fever\u003c/em>.\u003c/p>\n\u003cp>She repeated the gift for one-liners in \u003cem>Downton Abbey\u003c/em>, when the tradition-bound Violet witheringly asked, “What is a weekend?”\u003c/p>\n\u003cp>Fellow actors paid tribute to her on Friday. Hugh Bonneville, who played the son of Smith’s character in \u003cem>Downton Abbey\u003c/em>, said “anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.”\u003c/p>\n\u003cp>“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances,” he said in a statement.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1839668066793423319"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rob Lowe, who co-starred with her in \u003cem>Suddenly, Last Summer\u003c/em>, said the experience was “unforgettable … sharing a two-shot was like being paired with a lion.”\u003c/p>\n\u003cp>“She could eat anyone alive, and often did. But funny, and great company. And suffered no fools. We will never see another. God speed, Ms. Smith!” Lowe wrote on X.\u003c/p>\n\u003cp>Prime Minister Keir Starmer called Smith “a true national treasure whose work will be cherished for generations to come.”\u003c/p>\n\u003cp>Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”\u003c/p>\n\u003cp>Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.\u003c/p>\n\u003cp>“I did so many things, you know, round the universities there … If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.\u003c/p>\n\u003cp>She took Maggie as her stage name because another Margaret Smith was active in the theater.\u003c/p>\n\u003cp>Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.\u003c/p>\n\u003cp>Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”\u003c/p>\n\u003cp>“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett. He also wrote a starring role for Smith in \u003cem>The Lady in the Van\u003c/em>, as Miss Shepherd, a redoubtable woman who lived for years in her vehicle on Bennett’s London driveway.\u003c/p>\n\u003cp>However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.\u003c/p>\n\u003cp>“She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear,” said Simon Callow, who performed with her in \u003cem>A Room with a View\u003c/em>.\u003c/p>\n\u003cp>Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.\u003c/p>\n\u003cp>She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby — who both grew up to be actors — and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.\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>Hilary Fox in London contributed to this story. Associated Press writer Robert Barr contributed biographical material to this obituary before his death in 2018.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13965673/maggie-smith-obituary-scene-stealing-one-liners-downton-abbey-harry-potter",
"authors": [
"byline_arts_13965673"
],
"categories": [
"arts_1",
"arts_74",
"arts_1564",
"arts_967",
"arts_990"
],
"tags": [
"arts_1376",
"arts_21789",
"arts_4565"
],
"featImg": "arts_13965679",
"label": "arts"
},
"arts_13965548": {
"type": "posts",
"id": "arts_13965548",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13965548",
"score": null,
"sort": [
1727388231000
]
},
"guestAuthors": [],
"slug": "saturday-night-movie-review-snl-first-night-lorne-michaels",
"title": "‘Saturday Night’ Is a Thinly Sketched But Satisfying Movie",
"publishDate": 1727388231,
"format": "standard",
"headTitle": "‘Saturday Night’ Is a Thinly Sketched But Satisfying Movie | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>We are at the apex of \u003cem>Saturday Night Live\u003c/em> appreciation. Now entering its 50th year, \u003cem>SNL\u003c/em> has never been more unquestioned as a bedrock American institution. The many years of cowbells, Californians, mom jeans, Totino’s, unfrozen caveman lawyers and vans down by the river have more than established \u003cem>SNL\u003c/em> as hallowed late-night ground and a comedy citadel.\u003c/p>\n\u003cp>[aside postid='arts_13965368']So it’s maybe appropriate that Jason Reitman’s big-screen ode, \u003cem>Saturday Night\u003c/em>, should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.\u003c/p>\n\u003cp>The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.\u003c/p>\n\u003cp>\u003cem>Saturday Night\u003c/em>, which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.\u003c/p>\n\u003cp>[aside postid='arts_13965270']No, Reitman’s movie is striving for a myth of \u003cem>Saturday Night Live\u003c/em>. Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in \u003cem>Network\u003c/em>, meddling with the primal forces of nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In mythologizing this generational battle, \u003cem>Saturday Night\u003c/em> is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of \u003cem>SNL\u003c/em> to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, \u003cem>Saturday Night\u003c/em> at least deserves a Spartan cheer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003cp>A clock ticking down to showtime runs as ominously as it might in \u003cem>MacGruber\u003c/em> throughout \u003cem>Saturday Night\u003c/em>. Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”\u003c/p>\n\u003cp>[aside postid='arts_13964034']What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).\u003c/p>\n\u003cp>Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though \u003cem>SNL\u003c/em> was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.\u003c/p>\n\u003cp>It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.\u003c/p>\n\u003cp>It’s not a great sign for \u003cem>Saturday Night\u003c/em> how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most \u003cem>Network\u003c/em>-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.\u003c/p>\n\u003cp>Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the \u003cem>Fabelmans\u003c/em> star, even if the characterization, like much of \u003cem>Saturday Night\u003c/em>, is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.\u003c/p>\n\u003cp>[aside postid='arts_13965103']It seems to be an unfortunate truth that dramatizations of \u003cem>Saturday Night Live\u003c/em> inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>. The exception to that, of course, is Tina Fey’s \u003cem>30 Rock\u003c/em>, which was smart enough to abandon all the \u003cem>SNL\u003c/em> mythology and focus on what’s funny.\u003c/p>\n\u003cp>This \u003cem>Saturday Night\u003c/em> may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where \u003cem>SNL\u003c/em> starts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saturday Night’ is out now across the Bay Area. It is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Just in time for the 50th anniversary of ‘SNL,’ Jason Reitman journeys back through the show’s chaotic beginning.",
"status": "publish",
"parent": 0,
"modified": 1727388231,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1066
},
"headData": {
"title": "Movie Review: ‘Saturday Night’ Recreates SNL's First Night | KQED",
"description": "Just in time for the 50th anniversary of ‘SNL,’ Jason Reitman journeys back through the show’s chaotic beginning.",
"ogTitle": "‘Saturday Night’ Is Thinly Sketched But Satisfying",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Saturday Night’ Is Thinly Sketched But Satisfying",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Saturday Night’ Recreates SNL's First Night %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Saturday Night’ Is a Thinly Sketched But Satisfying Movie",
"datePublished": "2024-09-26T15:03:51-07:00",
"dateModified": "2024-09-26T15:03:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"nprStoryId": "kqed-13965548",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13965548/saturday-night-movie-review-snl-first-night-lorne-michaels",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We are at the apex of \u003cem>Saturday Night Live\u003c/em> appreciation. Now entering its 50th year, \u003cem>SNL\u003c/em> has never been more unquestioned as a bedrock American institution. The many years of cowbells, Californians, mom jeans, Totino’s, unfrozen caveman lawyers and vans down by the river have more than established \u003cem>SNL\u003c/em> as hallowed late-night ground and a comedy citadel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965368",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>So it’s maybe appropriate that Jason Reitman’s big-screen ode, \u003cem>Saturday Night\u003c/em>, should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.\u003c/p>\n\u003cp>The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.\u003c/p>\n\u003cp>\u003cem>Saturday Night\u003c/em>, which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965270",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>No, Reitman’s movie is striving for a myth of \u003cem>Saturday Night Live\u003c/em>. Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in \u003cem>Network\u003c/em>, meddling with the primal forces of nature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In mythologizing this generational battle, \u003cem>Saturday Night\u003c/em> is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of \u003cem>SNL\u003c/em> to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, \u003cem>Saturday Night\u003c/em> at least deserves a Spartan cheer.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iZ9O_tl5Npk'\n title='//www.youtube.com/embed/iZ9O_tl5Npk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A clock ticking down to showtime runs as ominously as it might in \u003cem>MacGruber\u003c/em> throughout \u003cem>Saturday Night\u003c/em>. Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964034",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).\u003c/p>\n\u003cp>Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though \u003cem>SNL\u003c/em> was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.\u003c/p>\n\u003cp>It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.\u003c/p>\n\u003cp>It’s not a great sign for \u003cem>Saturday Night\u003c/em> how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most \u003cem>Network\u003c/em>-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.\u003c/p>\n\u003cp>Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the \u003cem>Fabelmans\u003c/em> star, even if the characterization, like much of \u003cem>Saturday Night\u003c/em>, is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965103",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It seems to be an unfortunate truth that dramatizations of \u003cem>Saturday Night Live\u003c/em> inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>. The exception to that, of course, is Tina Fey’s \u003cem>30 Rock\u003c/em>, which was smart enough to abandon all the \u003cem>SNL\u003c/em> mythology and focus on what’s funny.\u003c/p>\n\u003cp>This \u003cem>Saturday Night\u003c/em> may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where \u003cem>SNL\u003c/em> starts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saturday Night’ is out now across the Bay Area. It is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13965548/saturday-night-movie-review-snl-first-night-lorne-michaels",
"authors": [
"byline_arts_13965548"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_8480",
"arts_769",
"arts_585"
],
"featImg": "arts_13965574",
"label": "arts_140"
},
"arts_13964217": {
"type": "posts",
"id": "arts_13964217",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13964217",
"score": null,
"sort": [
1726519910000
]
},
"guestAuthors": [],
"slug": "san-quentin-nurse-dee-dee-simon-americas-got-talent",
"title": "The San Quentin Nurse Showing America That She’s Got Talent",
"publishDate": 1726519910,
"format": "standard",
"headTitle": "The San Quentin Nurse Showing America That She’s Got Talent | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>[aside postID='arts_13962094']Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YxmAPxN104o\u003c/p>\n\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>[aside postID='arts_13962624']In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>[aside postID='arts_13926813']Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Dee Dee Simon will sing in the final round of 'America's Got Talent' — as the entire prison cheers her on.",
"status": "publish",
"parent": 0,
"modified": 1726519910,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1136
},
"headData": {
"title": "The San Quentin Nurse Showing America That She’s Got Talent | KQED",
"description": "Dee Dee Simon will sing in the final round of 'America's Got Talent' — as the entire prison cheers her on.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The San Quentin Nurse Showing America That She’s Got Talent",
"datePublished": "2024-09-16T13:51:50-07:00",
"dateModified": "2024-09-16T13:51:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13964217",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13964217/san-quentin-nurse-dee-dee-simon-americas-got-talent",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\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>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962094",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\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/YxmAPxN104o'\n title='//www.youtube.com/embed/YxmAPxN104o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962624",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13926813",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13964217/san-quentin-nurse-dee-dee-simon-americas-got-talent",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69",
"arts_990"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_1985",
"arts_5422"
],
"featImg": "arts_13964245",
"label": "arts"
},
"arts_13964266": {
"type": "posts",
"id": "arts_13964266",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13964266",
"score": null,
"sort": [
1726502296000
]
},
"guestAuthors": [],
"slug": "2024-emmy-award-winners-full-list-bear-shogun-hacks-baby-reindeer",
"title": "76th Emmy Awards: Full List of Winners",
"publishDate": 1726502296,
"format": "standard",
"headTitle": "76th Emmy Awards: Full List of Winners | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">\u003cem>Shōgun\u003c/em>\u003c/a> set a single season record for most wins with 18. \u003cem>Shogun\u003c/em> won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.\u003c/p>\n\u003cp>[aside postid='arts_13964232']\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a> won the award for best comedy series. \u003ca href=\"https://www.kqed.org/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix\">\u003cem>Baby Reindeer\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> won four awards apiece.\u003c/p>\n\u003cp>Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on \u003cem>Big Mouth\u003c/em>. Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Emmys:\u003c/p>\n\u003cp>\u003cstrong>Drama series\u003c/strong>\u003cbr>\n\u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Comedy series\u003c/strong>\u003cbr>\n\u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Limited, anthology series, movie\u003c/strong>\u003cbr>\n\u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a drama series\u003c/strong>\u003cbr>\nHiroyuki Sanada, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a drama series\u003c/strong>\u003cbr>\nAnna Sawai, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a drama series\u003c/strong>\u003cbr>\nBilly Crudup, \u003cem>The Morning Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a drama series\u003c/strong>\u003cbr>\nElizabeth Debicki, \u003cem>The Crown\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a comedy series\u003c/strong>\u003cbr>\nJeremy Allen White, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a comedy series\u003c/strong>\u003cbr>\nJean Smart, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a comedy series\u003c/strong>\u003cbr>\nLiza Colón-Zayas, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a comedy series\u003c/strong>\u003cbr>\nEbon Moss-Bachrach, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a limited, anthology series or movie\u003c/strong>\u003cbr>\nJodie Foster, \u003cem>True Detective: Night Country\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress limited, anthology series or movie\u003c/strong>\u003cbr>\nJessica Gunning, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nLamorne Morris, \u003cem>Fargo\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Reality competition program\u003c/strong>\u003cbr>\n\u003cem>The Traitors\u003c/em>, Peacock\u003c/p>\n\u003cp>\u003cstrong>Scripted variety series\u003c/strong>\u003cbr>\n\u003cem>Last Week Tonight with John Oliver\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Talk series\u003c/strong>\u003cbr>\n\u003cem>The Daily Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a variety special\u003c/strong>\u003cbr>\nAlex Edelman, \u003cem>Just for Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a comedy series\u003c/strong>\u003cbr>\nLucia Aniello, Paul W. Downs and Jen Statsky, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a drama series\u003c/strong>\u003cbr>\nWill Smith, \u003cem>Slow Horses\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a limited series, anthology or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a limited or anthology series\u003c/strong>\u003cbr>\nSteven Zaillian, \u003cem>Ripley\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a comedy series\u003c/strong>\u003cbr>\nChristopher Storer, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a drama series\u003c/strong>\u003cbr>\nFrederick E.O. Toye, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Governors award\u003c/strong>\u003cbr>\nGreg Berlanti\u003c/p>\n\n",
"blocks": [],
"excerpt": "This year, ‘Shōgun’ set a single season record for the most wins, taking home 18 trophies.",
"status": "publish",
"parent": 0,
"modified": 1726700598,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 35,
"wordCount": 422
},
"headData": {
"title": "All of the Winners at the 2024 Emmy Awards | KQED",
"description": "This year, ‘Shōgun’ set a single season record for the most wins, taking home 18 trophies.",
"ogTitle": "76th Emmy Awards: Full List of Winners",
"ogDescription": "",
"ogImgId": "",
"twTitle": "76th Emmy Awards: Full List of Winners",
"twDescription": "",
"twImgId": "",
"socialTitle": "All of the Winners at the 2024 Emmy Awards %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "76th Emmy Awards: Full List of Winners",
"datePublished": "2024-09-16T08:58:16-07:00",
"dateModified": "2024-09-18T16:03:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Associated Press",
"nprStoryId": "kqed-13964266",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13964266/2024-emmy-award-winners-full-list-bear-shogun-hacks-baby-reindeer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">\u003cem>Shōgun\u003c/em>\u003c/a> set a single season record for most wins with 18. \u003cem>Shogun\u003c/em> won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964232",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a> won the award for best comedy series. \u003ca href=\"https://www.kqed.org/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix\">\u003cem>Baby Reindeer\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> won four awards apiece.\u003c/p>\n\u003cp>Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.\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>Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on \u003cem>Big Mouth\u003c/em>. Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Emmys:\u003c/p>\n\u003cp>\u003cstrong>Drama series\u003c/strong>\u003cbr>\n\u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Comedy series\u003c/strong>\u003cbr>\n\u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Limited, anthology series, movie\u003c/strong>\u003cbr>\n\u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a drama series\u003c/strong>\u003cbr>\nHiroyuki Sanada, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a drama series\u003c/strong>\u003cbr>\nAnna Sawai, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a drama series\u003c/strong>\u003cbr>\nBilly Crudup, \u003cem>The Morning Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a drama series\u003c/strong>\u003cbr>\nElizabeth Debicki, \u003cem>The Crown\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a comedy series\u003c/strong>\u003cbr>\nJeremy Allen White, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a comedy series\u003c/strong>\u003cbr>\nJean Smart, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a comedy series\u003c/strong>\u003cbr>\nLiza Colón-Zayas, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a comedy series\u003c/strong>\u003cbr>\nEbon Moss-Bachrach, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a limited, anthology series or movie\u003c/strong>\u003cbr>\nJodie Foster, \u003cem>True Detective: Night Country\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress limited, anthology series or movie\u003c/strong>\u003cbr>\nJessica Gunning, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nLamorne Morris, \u003cem>Fargo\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Reality competition program\u003c/strong>\u003cbr>\n\u003cem>The Traitors\u003c/em>, Peacock\u003c/p>\n\u003cp>\u003cstrong>Scripted variety series\u003c/strong>\u003cbr>\n\u003cem>Last Week Tonight with John Oliver\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Talk series\u003c/strong>\u003cbr>\n\u003cem>The Daily Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a variety special\u003c/strong>\u003cbr>\nAlex Edelman, \u003cem>Just for Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a comedy series\u003c/strong>\u003cbr>\nLucia Aniello, Paul W. Downs and Jen Statsky, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a drama series\u003c/strong>\u003cbr>\nWill Smith, \u003cem>Slow Horses\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a limited series, anthology or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a limited or anthology series\u003c/strong>\u003cbr>\nSteven Zaillian, \u003cem>Ripley\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a comedy series\u003c/strong>\u003cbr>\nChristopher Storer, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a drama series\u003c/strong>\u003cbr>\nFrederick E.O. Toye, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Governors award\u003c/strong>\u003cbr>\nGreg Berlanti\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13964266/2024-emmy-award-winners-full-list-bear-shogun-hacks-baby-reindeer",
"authors": [
"byline_arts_13964266"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8417",
"arts_22310"
],
"featImg": "arts_13964235",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 120,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1039,
"relation": "eq"
},
"items": [
"arts_13967651",
"arts_13968075",
"arts_13967962",
"arts_13967594",
"arts_13966481",
"arts_13966239",
"arts_13965841",
"arts_13965835",
"arts_13965673",
"arts_13965548",
"arts_13964217",
"arts_13964266"
],
"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_tv": {
"isLoading": true
},
"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"
},
"source_arts_13967651": {
"type": "terms",
"id": "source_arts_13967651",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"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_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_21949": {
"type": "terms",
"id": "arts_21949",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21949",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asia",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asia Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21961,
"slug": "asia",
"isLoading": false,
"link": "/arts/tag/asia"
},
"arts_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_22173": {
"type": "terms",
"id": "arts_22173",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22173",
"found": true
},
"relationships": {},
"name": "national geographic",
"slug": "national-geographic",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "national geographic Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22185,
"isLoading": false,
"link": "/arts/tag/national-geographic"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_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_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_13193": {
"type": "terms",
"id": "arts_13193",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13193",
"found": true
},
"relationships": {},
"featImg": null,
"name": "IRA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "IRA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13205,
"slug": "ira",
"isLoading": false,
"link": "/arts/tag/ira"
},
"arts_21768": {
"type": "terms",
"id": "arts_21768",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21768",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ireland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ireland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21780,
"slug": "ireland",
"isLoading": false,
"link": "/arts/tag/ireland"
},
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_9222": {
"type": "terms",
"id": "arts_9222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple TV+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple TV+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9234,
"slug": "apple-tv",
"isLoading": false,
"link": "/arts/tag/apple-tv"
},
"arts_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"arts_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_8505": {
"type": "terms",
"id": "arts_8505",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8505",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area hip-hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area hip-hop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8517,
"slug": "bay-area-hip-hop",
"isLoading": false,
"link": "/arts/tag/bay-area-hip-hop"
},
"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_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_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_20624": {
"type": "terms",
"id": "arts_20624",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20624",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Max",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Max Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20636,
"slug": "max",
"isLoading": false,
"link": "/arts/tag/max"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_22277": {
"type": "terms",
"id": "arts_22277",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22277",
"found": true
},
"relationships": {},
"name": "election 2024",
"slug": "election-2024",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "election 2024 | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22289,
"isLoading": false,
"link": "/arts/tag/election-2024"
},
"arts_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_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_9247": {
"type": "terms",
"id": "arts_9247",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9247",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SNL",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SNL Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9259,
"slug": "snl",
"isLoading": false,
"link": "/arts/tag/snl"
},
"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_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1376": {
"type": "terms",
"id": "arts_1376",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1376",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harry Potter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harry Potter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1388,
"slug": "harry-potter",
"isLoading": false,
"link": "/arts/tag/harry-potter"
},
"arts_21789": {
"type": "terms",
"id": "arts_21789",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21789",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obituary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obituary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21801,
"slug": "obituary",
"isLoading": false,
"link": "/arts/tag/obituary"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_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_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_1985": {
"type": "terms",
"id": "arts_1985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1997,
"slug": "san-quentin",
"isLoading": false,
"link": "/arts/tag/san-quentin"
},
"arts_21875": {
"type": "terms",
"id": "arts_21875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Criminal Justice",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Criminal Justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21887,
"slug": "criminal-justice",
"isLoading": false,
"link": "/arts/interest/criminal-justice"
},
"arts_21873": {
"type": "terms",
"id": "arts_21873",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21873",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21885,
"slug": "north-bay",
"isLoading": false,
"link": "/arts/interest/north-bay"
},
"arts_8417": {
"type": "terms",
"id": "arts_8417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8429,
"slug": "awards-shows",
"isLoading": false,
"link": "/arts/tag/awards-shows"
},
"arts_22310": {
"type": "terms",
"id": "arts_22310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22310",
"found": true
},
"relationships": {},
"name": "Emmy Awards",
"slug": "emmy-awards",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Emmy Awards | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22322,
"isLoading": false,
"link": "/arts/tag/emmy-awards"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}