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_13960186": {
"type": "attachments",
"id": "arts_13960186",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960186",
"found": true
},
"title": "James Baldwin in New York, April 1964.",
"publishDate": 1719252990,
"status": "inherit",
"parent": 13960144,
"modified": 1719253089,
"caption": "James Baldwin in New York, April 1964.",
"credit": "Robert Elfstrom/Villon Films/Getty Images",
"altTag": "A Black man wearing a suit stands in front of a white wall with his head turned to one side.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-800x518.jpg",
"width": 800,
"height": 518,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-1020x660.jpg",
"width": 1020,
"height": 660,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-160x104.jpg",
"width": 160,
"height": 104,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-768x497.jpg",
"width": 768,
"height": 497,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-1536x994.jpg",
"width": 1536,
"height": 994,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-2048x1325.jpg",
"width": 2048,
"height": 1325,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-1920x1242.jpg",
"width": 1920,
"height": 1242,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-637476032-scaled.jpg",
"width": 2560,
"height": 1656
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960110": {
"type": "attachments",
"id": "arts_13960110",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960110",
"found": true
},
"title": "Disco_s Mighty Real Bay Area Roots (Estefany Gonzalez)_23",
"publishDate": 1718992477,
"status": "inherit",
"parent": 13960094,
"modified": 1718995526,
"caption": "Drag performer Bebe Sweet Briar and DJ Paul Goodyear, aka SanFranDisko, onstage at The Commons at KQED on June 6, 2024. ",
"credit": "Estefany Gonzalez for KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_23.jpg",
"width": 1920,
"height": 1280
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959919": {
"type": "attachments",
"id": "arts_13959919",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959919",
"found": true
},
"title": "‘Outstanding: A Comedy Revolution’ explores the history and current state of LGBTQ comedy. Above, Lily Tomlin, left, Wanda Sykes, Joel Kim Booster and Trixie Mattel.",
"publishDate": 1718658470,
"status": "inherit",
"parent": 13959918,
"modified": 1718658621,
"caption": "‘Outstanding: A Comedy Revolution’ explores the history and current state of LGBTQ comedy. Above, Lily Tomlin, left, Wanda Sykes, Joel Kim Booster and Trixie Mattel.",
"credit": "Netflix",
"altTag": "Photos of a white woman, a Black woman, an Asian man and a drag queen.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/4-images-vertical.jpeg",
"width": 2400,
"height": 1350
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959900": {
"type": "attachments",
"id": "arts_13959900",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959900",
"found": true
},
"title": "‘Sharks in the Seine’ — mon dieu!",
"publishDate": 1718644680,
"status": "inherit",
"parent": 13959899,
"modified": 1718645214,
"caption": "‘Sharks in the Seine’ — mon dieu!",
"credit": "Netflix/Sofie Gheysens",
"altTag": "A woman floats upright under water, facing an enormous shark.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-800x513.jpeg",
"width": 800,
"height": 513,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1020x654.jpeg",
"width": 1020,
"height": 654,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-160x103.jpeg",
"width": 160,
"height": 103,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-768x492.jpeg",
"width": 768,
"height": 492,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1536x984.jpeg",
"width": 1536,
"height": 984,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-2048x1312.jpeg",
"width": 2048,
"height": 1312,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-1920x1230.jpeg",
"width": 1920,
"height": 1230,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/underparis-e1718645142576.jpeg",
"width": 1920,
"height": 1230
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959636": {
"type": "attachments",
"id": "arts_13959636",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959636",
"found": true
},
"title": "In the episode ‘From Virgin to Vixen,’ Queenie is in peak fun mode — until her demons begin to catch up with her.",
"publishDate": 1718147166,
"status": "inherit",
"parent": 13959635,
"modified": 1718147436,
"caption": "In the episode ‘From Virgin to Vixen,’ Queenie is in peak fun mode — until her demons begin to catch up with her.",
"credit": "Lionsgate/Latoya Okuneye",
"altTag": "A Black woman dressed as a Playboy bunny talks to a man dressed as Hugh Hefner, at a sparsely populated party.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-800x533.jpeg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1020x680.jpeg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-160x107.jpeg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-768x512.jpeg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1536x1024.jpeg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-2048x1365.jpeg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1920x1280.jpeg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-scaled-e1718147321594.jpeg",
"width": 1920,
"height": 1280
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959604": {
"type": "attachments",
"id": "arts_13959604",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959604",
"found": true
},
"title": "Demi Moore and Andrew McCarthy in a scene from new documentary, ‘Brats.’",
"publishDate": 1718129807,
"status": "inherit",
"parent": 13959601,
"modified": 1718129998,
"caption": "Demi Moore and Andrew McCarthy in a scene from new documentary, ‘Brats.’",
"credit": "ABC News Studios via AP",
"altTag": "A woman and man sit together on a porch staring at the screen of an iPad, visibly amused.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-800x487.png",
"width": 800,
"height": 487,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-1020x621.png",
"width": 1020,
"height": 621,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-160x97.png",
"width": 160,
"height": 97,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-768x467.png",
"width": 768,
"height": 467,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-1536x935.png",
"width": 1536,
"height": 935,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM.png",
"width": 1906,
"height": 1160
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959597": {
"type": "attachments",
"id": "arts_13959597",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959597",
"found": true
},
"title": "Clockwise from top left: ‘Inside Out 2,’ ‘Thelma,’ ‘Twisters,’ ‘Hit Man,’ ‘Fancy Dance’ and ‘Beverly Hills Cop: Axel F.’",
"publishDate": 1718127548,
"status": "inherit",
"parent": 13959577,
"modified": 1718127647,
"caption": "Clockwise from top left: ‘Inside Out 2,’ ‘Thelma,’ ‘Twisters,’ ‘Hit Man,’ ‘Fancy Dance’ and ‘Beverly Hills Cop: Axel F.’",
"credit": "Disney/Pixar, Magnolia Pictures, Universal Pictures, Netflix, Apple TV+, Netflix",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-800x449.png",
"width": 800,
"height": 449,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-1020x573.png",
"width": 1020,
"height": 573,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-160x90.png",
"width": 160,
"height": 90,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-768x431.png",
"width": 768,
"height": 431,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-1536x862.png",
"width": 1536,
"height": 862,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.38.47-AM.png",
"width": 1902,
"height": 1068
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959519": {
"type": "attachments",
"id": "arts_13959519",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959519",
"found": true
},
"title": "Max Brod (left), a recognized writer at the time, relentlessly promoted the writings of his friend, Franz Kafka, played here respectively by David Kross and Joel Basman in the Austrian-German series ‘Kafka,’ now streaming in the U.S.",
"publishDate": 1718049083,
"status": "inherit",
"parent": 13959515,
"modified": 1718049201,
"caption": "Max Brod (left), a recognized writer at the time, relentlessly promoted the writings of his friend, Franz Kafka, played here respectively by David Kross and Joel Basman in the Austrian-German series ‘Kafka,’ now streaming in the U.S.",
"credit": "ORF/Superfilm/Nicole Albiez/Superfilm",
"altTag": "A man stands next to the desk of another man in turn of the century Europe.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-800x472.png",
"width": 800,
"height": 472,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-1020x602.png",
"width": 1020,
"height": 602,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-160x94.png",
"width": 160,
"height": 94,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-768x453.png",
"width": 768,
"height": 453,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM.png",
"width": 1294,
"height": 764
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959461": {
"type": "attachments",
"id": "arts_13959461",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959461",
"found": true
},
"title": "Fashion designer Karl Lagerfeld (Daniel Brühl), left, meets and falls in love with Jacques de Bascher (Théodore Pellerin) in ‘Becoming Karl Lagerfeld.’",
"publishDate": 1717781607,
"status": "inherit",
"parent": 13959459,
"modified": 1717781720,
"caption": "Fashion designer Karl Lagerfeld (Daniel Brühl), left, meets and falls in love with Jacques de Bascher (Théodore Pellerin) in ‘Becoming Karl Lagerfeld.’",
"credit": "Caroline Dubois, Jour Premier/Disney",
"altTag": "Two men stand with their bodies close together in front of a clothes rack. They are both looking towards the camera.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-800x505.png",
"width": 800,
"height": 505,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-1020x644.png",
"width": 1020,
"height": 644,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-160x101.png",
"width": 160,
"height": 101,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-768x485.png",
"width": 768,
"height": 485,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-1536x970.png",
"width": 1536,
"height": 970,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM.png",
"width": 1596,
"height": 1008
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13958427": {
"type": "attachments",
"id": "arts_13958427",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13958427",
"found": true
},
"title": "game 4 dec 23 juan-67",
"publishDate": 1716493652,
"status": "inherit",
"parent": 13958423,
"modified": 1717709511,
"caption": "Juan Toscano-Anderson's basketball career has been historic. He's one of the subjects in the online docuseries, 'The Break.'",
"credit": "Trecy Wendy Wuattier",
"altTag": "a basketball player cheers on his teammates from the sideline inside an arena",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-2048x1365.jpg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-67-scaled.jpg",
"width": 2560,
"height": 1707
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959207": {
"type": "attachments",
"id": "arts_13959207",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959207",
"found": true
},
"title": "Clockwise from top left: ‘Industry,’ ‘My Lady Jane,’ ‘The Bear,’ ‘The Umbrella Academy,’ ‘Clipped’ and ‘House of the Dragon.’",
"publishDate": 1717522685,
"status": "inherit",
"parent": 13959205,
"modified": 1717522783,
"caption": "Clockwise from top left: ‘Industry,’ ‘My Lady Jane,’ ‘The Bear,’ ‘The Umbrella Academy,’ ‘Clipped’ and ‘House of the Dragon.’",
"credit": "Nick Strasburg/ HBO, Jonathan Prime/ Prime Video, Chuck Hodes/ FX, Christos Kalohoridis/ Netflix, Kelsey McNeal/ FX, Ollie Upton/ HBO",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-800x479.png",
"width": 800,
"height": 479,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-1020x611.png",
"width": 1020,
"height": 611,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-160x96.png",
"width": 160,
"height": 96,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-768x460.png",
"width": 768,
"height": 460,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-1536x921.png",
"width": 1536,
"height": 921,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.32.08-AM.png",
"width": 1782,
"height": 1068
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959170": {
"type": "attachments",
"id": "arts_13959170",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959170",
"found": true
},
"title": "Francesco Di Rauso, portraying combat medic Waverly Woodson Jr. who served with the 320th Barrage Balloon Battalion on D-Day.",
"publishDate": 1717457555,
"status": "inherit",
"parent": 13959163,
"modified": 1717457632,
"caption": "Francesco Di Rauso, portraying combat medic Waverly Woodson Jr. who served with the 320th Barrage Balloon Battalion on D-Day. ",
"credit": "National Geographic via AP",
"altTag": "A Black man wearing World War II army fatiques and a medic helmet crouched over a body on a chaotic beach.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-800x514.png",
"width": 800,
"height": 514,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-1020x655.png",
"width": 1020,
"height": 655,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-768x493.png",
"width": 768,
"height": 493,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-1536x987.png",
"width": 1536,
"height": 987,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-4.30.46-PM.png",
"width": 1678,
"height": 1078
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13959918": {
"type": "authors",
"id": "byline_arts_13959918",
"meta": {
"override": true
},
"slug": "byline_arts_13959918",
"name": "Elizabeth Blair, NPR",
"isLoading": false
},
"byline_arts_13959899": {
"type": "authors",
"id": "byline_arts_13959899",
"meta": {
"override": true
},
"slug": "byline_arts_13959899",
"name": "Linda Holmes, NPR",
"isLoading": false
},
"byline_arts_13959635": {
"type": "authors",
"id": "byline_arts_13959635",
"meta": {
"override": true
},
"slug": "byline_arts_13959635",
"name": "Carole V. Bell",
"isLoading": false
},
"byline_arts_13959601": {
"type": "authors",
"id": "byline_arts_13959601",
"meta": {
"override": true
},
"slug": "byline_arts_13959601",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13959577": {
"type": "authors",
"id": "byline_arts_13959577",
"meta": {
"override": true
},
"slug": "byline_arts_13959577",
"name": "Bob Mondello, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"isLoading": false
},
"byline_arts_13959515": {
"type": "authors",
"id": "byline_arts_13959515",
"meta": {
"override": true
},
"slug": "byline_arts_13959515",
"name": "Olivia Hampton",
"isLoading": false
},
"byline_arts_13959459": {
"type": "authors",
"id": "byline_arts_13959459",
"meta": {
"override": true
},
"slug": "byline_arts_13959459",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13959205": {
"type": "authors",
"id": "byline_arts_13959205",
"meta": {
"override": true
},
"slug": "byline_arts_13959205",
"name": "Eric Deggans, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"isLoading": false
},
"byline_arts_13959163": {
"type": "authors",
"id": "byline_arts_13959163",
"meta": {
"override": true
},
"slug": "byline_arts_13959163",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
}
},
"pagesReducer": {
"arts_category_tv": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"score": 12.668388
},
"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": 13
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 13
}
},
{
"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_13960144": {
"type": "posts",
"id": "arts_13960144",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960144",
"score": null,
"sort": [
1719263141000
]
},
"guestAuthors": [],
"slug": "james-baldwin-take-this-hammer-documentary-kqed",
"title": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60",
"publishDate": 1719263141,
"format": "standard",
"headTitle": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The now-legendary documentary, aired by KQED in February 1964, is called \u003cem>Take This Hammer\u003c/em> — the title borrowed from \u003ca href=\"https://www.youtube.com/watch?v=280ZECc773g\">the Black folk song\u003c/a> of the same name that envisions an escape from brutal working conditions. The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>[aside postid='arts_13959918']“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. When you go to look for a job, can you get a job?”\u003c/p>\n\u003cp>The camera pans to Baldwin. “This is a San Francisco America pretends does not exist,” he says stoically. “They think that I am making it up.”\u003c/p>\n\u003cp>Before the movie even got to air, it received outraged reactions from some corners of the press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fine, fair face of San Francisco will be sullied tonight by Negro author James Baldwin in a special 45-minute Channel 9 program,” Dwight Newton wrote in his \u003cem>San Francisco Examiner\u003c/em> column. “Baldwin came here last year and KQED’s Channel 9 mobile film unit toured the town with him — to the uglier areas of Hunter’s Point and the Fillmore District. In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>[aside postid='arts_13959796']Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>[aside postid='arts_13959163']This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The film was an explosive look at Black communities in 1960s San Francisco. It remains essential viewing.",
"status": "publish",
"parent": 0,
"modified": 1750185757,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 905
},
"headData": {
"title": "Watch: ‘Take This Hammer,’ James Baldwin’s KQED Documentary | KQED",
"description": "The film was an explosive look at Black communities in 1960s San Francisco. It remains essential viewing.",
"ogTitle": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60",
"twDescription": "",
"twImgId": "",
"socialTitle": "Watch: ‘Take This Hammer,’ James Baldwin’s KQED Documentary %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60",
"datePublished": "2024-06-24T14:05:41-07:00",
"dateModified": "2025-06-17T11:42:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13960144",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13960144/james-baldwin-take-this-hammer-documentary-kqed",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The now-legendary documentary, aired by KQED in February 1964, is called \u003cem>Take This Hammer\u003c/em> — the title borrowed from \u003ca href=\"https://www.youtube.com/watch?v=280ZECc773g\">the Black folk song\u003c/a> of the same name that envisions an escape from brutal working conditions. The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959918",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. When you go to look for a job, can you get a job?”\u003c/p>\n\u003cp>The camera pans to Baldwin. “This is a San Francisco America pretends does not exist,” he says stoically. “They think that I am making it up.”\u003c/p>\n\u003cp>Before the movie even got to air, it received outraged reactions from some corners of the press.\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 fine, fair face of San Francisco will be sullied tonight by Negro author James Baldwin in a special 45-minute Channel 9 program,” Dwight Newton wrote in his \u003cem>San Francisco Examiner\u003c/em> column. “Baldwin came here last year and KQED’s Channel 9 mobile film unit toured the town with him — to the uglier areas of Hunter’s Point and the Fillmore District. In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959796",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959163",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960144/james-baldwin-take-this-hammer-documentary-kqed",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_5426",
"arts_13672",
"arts_10278",
"arts_4017",
"arts_3087",
"arts_3652",
"arts_1146",
"arts_585"
],
"featImg": "arts_13960186",
"label": "arts_140"
},
"arts_13960094": {
"type": "posts",
"id": "arts_13960094",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960094",
"score": null,
"sort": [
1718995541000
]
},
"guestAuthors": [],
"slug": "watch-discos-mighty-real-bay-area-roots-live-at-kqed",
"title": "Watch: Disco's Mighty Real Bay Area Roots, Live at KQED",
"publishDate": 1718995541,
"format": "standard",
"headTitle": "Watch: Disco’s Mighty Real Bay Area Roots, Live at KQED | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In the 1970s, as activists fought for gay liberation, Black power and women’s rights, a new sound hit dance floors from coast to coast: disco.\u003c/p>\n\u003cp>In the new PBS documentary \u003ca href=\"https://www.pbs.org/show/disco-soundtrack-of-a-revolution/\">\u003cem>Disco: Soundtrack of a Revolution \u003c/em>\u003c/a>(available now for streaming and on \u003ca href=\"https://www.kqed.org/tv/schedules/monthly\">KQED TV\u003c/a>), singers, DJs and cultural figures show how the music became a balm for oppression and created space for people of different backgrounds to let loose and get free. Despite whitewashing and backlash that followed disco’s explosion into the mainstream, its queer, Black roots continue to influence pop’s biggest stars.\u003c/p>\n\u003cp>To celebrate the documentary’s release, NPR’s \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">Corey Antonio Rose\u003c/a> and KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a> co-hosted a special panel discussion and performance in KQED’s San Francisco event space, The Commons. Singer and drag star \u003ca href=\"https://www.instagram.com/bebesweetbriar/?hl=en\">Bebe Sweetbriar\u003c/a> (who kicked off the night with a fiery lip sync) and \u003ca href=\"https://www.djpaulgoodyear.com/#/\">DJ Paul Goodyear\u003c/a>, aka SanFranDisko, walked us through disco’s transformation of nightlife and DJ culture, and how it catalyzed organizing and community care during the AIDS crisis. We spoke at length about Sylvester, the San Francisco disco star who paved the way for genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13960109\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Hawthorne and Rodney Barnette (left to right) discuss the past and present of queer nightlife spaces. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening, \u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">Rodney Barnette\u003c/a>, a former Black Panther, revealed that the disco scene wasn’t as utopian as it may seem. Queer people of color were regularly discriminated against, which prompted him to open the New Eagle Creek Saloon, San Francisco’s first Black-owned gay bar, in 1990. With the slogan “a friendly place with funky bass for every race,” the Eagle Creek became a social support system. \u003ca href=\"https://www.instagram.com/djcharleshawthorne/\">Charles Hawthorne\u003c/a>, a DJ who works with Oaklash and Nectar Social Club, chatted with Rodney about the current generation’s ways of carrying the torch and creating a truly inclusive queer culture.\u003c/p>\n\u003cp>The evening closed out with a live musical number from Bebe and a dance party. Watch the full program below.\u003c/p>\n\u003cdiv style=\"padding:56.25% 0 0 0;position:relative;\">\u003ciframe src=\"https://player.vimeo.com/video/960740891?h=354c2d35e3&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Disco's Mighty Real Bay Area Roots\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cscript src=\"https://player.vimeo.com/api/player.js\">\u003c/script>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "A discussion of nightlife and activism in 1970s San Francisco — and how disco paved the way for today's generation.",
"status": "publish",
"parent": 0,
"modified": 1718996854,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 351
},
"headData": {
"title": "Watch: Disco's Mighty Real Bay Area Roots, Live at KQED | KQED",
"description": "A discussion of nightlife and activism in 1970s San Francisco — and how disco paved the way for today's generation.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch: Disco's Mighty Real Bay Area Roots, Live at KQED",
"datePublished": "2024-06-21T11:45:41-07:00",
"dateModified": "2024-06-21T12:07:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://vimeo.com/960740891/354c2d35e3?share=copy",
"sticky": false,
"nprStoryId": "kqed-13960094",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13960094/watch-discos-mighty-real-bay-area-roots-live-at-kqed",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1970s, as activists fought for gay liberation, Black power and women’s rights, a new sound hit dance floors from coast to coast: disco.\u003c/p>\n\u003cp>In the new PBS documentary \u003ca href=\"https://www.pbs.org/show/disco-soundtrack-of-a-revolution/\">\u003cem>Disco: Soundtrack of a Revolution \u003c/em>\u003c/a>(available now for streaming and on \u003ca href=\"https://www.kqed.org/tv/schedules/monthly\">KQED TV\u003c/a>), singers, DJs and cultural figures show how the music became a balm for oppression and created space for people of different backgrounds to let loose and get free. Despite whitewashing and backlash that followed disco’s explosion into the mainstream, its queer, Black roots continue to influence pop’s biggest stars.\u003c/p>\n\u003cp>To celebrate the documentary’s release, NPR’s \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">Corey Antonio Rose\u003c/a> and KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a> co-hosted a special panel discussion and performance in KQED’s San Francisco event space, The Commons. Singer and drag star \u003ca href=\"https://www.instagram.com/bebesweetbriar/?hl=en\">Bebe Sweetbriar\u003c/a> (who kicked off the night with a fiery lip sync) and \u003ca href=\"https://www.djpaulgoodyear.com/#/\">DJ Paul Goodyear\u003c/a>, aka SanFranDisko, walked us through disco’s transformation of nightlife and DJ culture, and how it catalyzed organizing and community care during the AIDS crisis. We spoke at length about Sylvester, the San Francisco disco star who paved the way for genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13960109\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Hawthorne and Rodney Barnette (left to right) discuss the past and present of queer nightlife spaces. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening, \u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">Rodney Barnette\u003c/a>, a former Black Panther, revealed that the disco scene wasn’t as utopian as it may seem. Queer people of color were regularly discriminated against, which prompted him to open the New Eagle Creek Saloon, San Francisco’s first Black-owned gay bar, in 1990. With the slogan “a friendly place with funky bass for every race,” the Eagle Creek became a social support system. \u003ca href=\"https://www.instagram.com/djcharleshawthorne/\">Charles Hawthorne\u003c/a>, a DJ who works with Oaklash and Nectar Social Club, chatted with Rodney about the current generation’s ways of carrying the torch and creating a truly inclusive queer culture.\u003c/p>\n\u003cp>The evening closed out with a live musical number from Bebe and a dance party. Watch the full program below.\u003c/p>\n\u003cdiv style=\"padding:56.25% 0 0 0;position:relative;\">\u003ciframe src=\"https://player.vimeo.com/video/960740891?h=354c2d35e3&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Disco's Mighty Real Bay Area Roots\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cscript src=\"https://player.vimeo.com/api/player.js\">\u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960094/watch-discos-mighty-real-bay-area-roots-live-at-kqed",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69",
"arts_990"
],
"tags": [
"arts_8530",
"arts_10278"
],
"featImg": "arts_13960110",
"label": "arts"
},
"arts_13959918": {
"type": "posts",
"id": "arts_13959918",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959918",
"score": null,
"sort": [
1718659876000
]
},
"guestAuthors": [],
"slug": "lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"title": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"publishDate": 1718659876,
"format": "standard",
"headTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>[aside postid='arts_13959601']A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dEZX9LNX3BA\u003c/p>\n\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>[aside postid='arts_13959827']As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>[aside postid='arts_13958734']Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "New Netflix documentary ‘Outstanding: A Comedy Revolution’ features interviews with dozens of gay and trans comics.",
"status": "publish",
"parent": 0,
"modified": 1718659876,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 872
},
"headData": {
"title": "Movie Review: ‘Outstanding: A Comedy Revolution’ on Netflix | KQED",
"description": "New Netflix documentary ‘Outstanding: A Comedy Revolution’ features interviews with dozens of gay and trans comics.",
"ogTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Outstanding: A Comedy Revolution’ on Netflix %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
"datePublished": "2024-06-17T14:31:16-07:00",
"dateModified": "2024-06-17T14:31:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Elizabeth Blair, NPR",
"nprStoryId": "nx-s1-4907292",
"nprHtmlLink": "https://www.npr.org/2024/06/04/nx-s1-4907292/outstanding-documentary-lgbtq-comedy",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-17T15:23:07.094-04:00",
"nprStoryDate": "2024-06-17T15:23:07.094-04:00",
"nprLastModifiedDate": "2024-06-17T16:18:21.93-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959918/lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959601",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\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/dEZX9LNX3BA'\n title='//www.youtube.com/embed/dEZX9LNX3BA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\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>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959827",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958734",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959918/lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"authors": [
"byline_arts_13959918"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_3226",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959919",
"label": "arts_137"
},
"arts_13959899": {
"type": "posts",
"id": "arts_13959899",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959899",
"score": null,
"sort": [
1718649954000
]
},
"guestAuthors": [],
"slug": "under-paris-shark-horror-movie-netflix-french",
"title": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"publishDate": 1718649954,
"format": "standard",
"headTitle": "‘Under Paris’ Is a Seine-Sational French Shark Movie | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>[aside postid='arts_13959801']\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jnCefPQIH98\u003c/p>\n\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>[aside postid='arts_13959670']All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "If you’re watching the movie with English subtitles on, you will see a lot of the caption \"panicked screams.\"",
"status": "publish",
"parent": 0,
"modified": 1718650200,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 787
},
"headData": {
"title": "‘Under Paris’ Movie Review: This Sharknadeau Is Incredible Fun | KQED",
"description": "If you’re watching the movie with English subtitles on, you will see a lot of the caption "panicked screams."",
"ogTitle": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Under Paris’ Movie Review: This Sharknadeau Is Incredible Fun %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
"datePublished": "2024-06-17T11:45:54-07:00",
"dateModified": "2024-06-17T11:50:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes, NPR",
"nprStoryId": "nx-s1-5006140",
"nprHtmlLink": "https://www.npr.org/2024/06/15/nx-s1-5006140/under-paris-review-sharks",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-15T07:00:00-04:00",
"nprStoryDate": "2024-06-15T07:00:00-04:00",
"nprLastModifiedDate": "2024-06-15T07:01:16.752-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959899/under-paris-shark-horror-movie-netflix-french",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959801",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jnCefPQIH98'\n title='//www.youtube.com/embed/jnCefPQIH98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959670",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959899/under-paris-shark-horror-movie-netflix-french",
"authors": [
"byline_arts_13959899"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9124",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959900",
"label": "arts_140"
},
"arts_13959635": {
"type": "posts",
"id": "arts_13959635",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959635",
"score": null,
"sort": [
1718202315000
]
},
"guestAuthors": [],
"slug": "queenie-novel-hulu-series-candice-carty-williams-analysis",
"title": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"publishDate": 1718202315,
"format": "standard",
"headTitle": "Queenie’s Second Life on Screen Gives Her More Room to Grow | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>[aside postid='arts_13959601']The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwRwPcm3P4Q\u003c/p>\n\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>[aside postid='arts_13959205']\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>[aside postid='arts_13959163']\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>[aside postid='arts_13958131']Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "An irresistible new Hulu series follows the quarter-life growing pains of a lonely South Londoner.",
"status": "publish",
"parent": 0,
"modified": 1726701240,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1979
},
"headData": {
"title": "Candice Carty-Williams’ ‘Queenie’ Novel Is Expanded for TV | KQED",
"description": "An irresistible new Hulu series follows the quarter-life growing pains of a lonely South Londoner.",
"ogTitle": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"twDescription": "",
"twImgId": "",
"socialTitle": "Candice Carty-Williams’ ‘Queenie’ Novel Is Expanded for TV %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"datePublished": "2024-06-12T07:25:15-07:00",
"dateModified": "2024-09-18T16:14:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Carole V. Bell",
"nprStoryId": "nx-s1-4996423",
"nprHtmlLink": "https://www.npr.org/2024/06/11/nx-s1-4996423/queenie-hulu-streaming-candice-carty-williams",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-11T15:08:59.068-04:00",
"nprStoryDate": "2024-06-11T15:08:59.068-04:00",
"nprLastModifiedDate": "2024-06-11T17:08:04.609-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959635/queenie-novel-hulu-series-candice-carty-williams-analysis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959601",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\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/wwRwPcm3P4Q'\n title='//www.youtube.com/embed/wwRwPcm3P4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959205",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959163",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958131",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\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>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959635/queenie-novel-hulu-series-candice-carty-williams-analysis",
"authors": [
"byline_arts_13959635"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_990"
],
"tags": [
"arts_5234",
"arts_769",
"arts_585",
"arts_5292"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959636",
"label": "arts_140"
},
"arts_13959601": {
"type": "posts",
"id": "arts_13959601",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959601",
"score": null,
"sort": [
1718131433000
]
},
"guestAuthors": [],
"slug": "brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats",
"title": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"publishDate": 1718131433,
"format": "standard",
"headTitle": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.",
"status": "publish",
"parent": 0,
"modified": 1718133584,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 942
},
"headData": {
"title": "‘Brats’ Documentary: Andrew McCarthy and ’80s Pals Reunite | KQED",
"description": "In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.",
"ogTitle": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Brats’ Documentary: Andrew McCarthy and ’80s Pals Reunite %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"datePublished": "2024-06-11T11:43:53-07:00",
"dateModified": "2024-06-11T12:19:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13959601",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959601/brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958881",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\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/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958762",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959601/brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats",
"authors": [
"byline_arts_13959601"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_10493",
"arts_13672",
"arts_5234",
"arts_769",
"arts_585"
],
"featImg": "arts_13959604",
"label": "arts_140"
},
"arts_13959577": {
"type": "posts",
"id": "arts_13959577",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959577",
"score": null,
"sort": [
1718128565000
]
},
"guestAuthors": [],
"slug": "best-movies-summer-2024-npr-critics-picks",
"title": "The 19 Movies NPR Critics Are Most Excited About This Summer",
"publishDate": 1718128565,
"format": "standard",
"headTitle": "The 19 Movies NPR Critics Are Most Excited About This Summer | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g&t=10s\u003c/p>\n\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0\u003c/p>\n\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70\u003c/p>\n\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AmPPiLaiN8g\u003c/p>\n\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inAuktwXbew\u003c/p>\n\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYsReoZMj1k\u003c/p>\n\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gjx-iHGXk9Q\u003c/p>\n\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KoxhkE_U3Ww\u003c/p>\n\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8\u003c/p>\n\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pn5fdK61o9c\u003c/p>\n\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e6gve8GtSuU\u003c/p>\n\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB2LsoZOQpU\u003c/p>\n\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n",
"blocks": [],
"excerpt": "Comedies, action-adventures, coming-of-age tales, animation. Now through Labor Day, there are a wealth of great movies on the way.",
"status": "publish",
"parent": 0,
"modified": 1718128565,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 42,
"wordCount": 2182
},
"headData": {
"title": "The Best Movies of Summer 2024, According to NPR Critics | KQED",
"description": "Comedies, action-adventures, coming-of-age tales, animation. Now through Labor Day, there are a wealth of great movies on the way.",
"ogTitle": "The 19 Movies NPR Critics Are Most Excited About This Summer",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The 19 Movies NPR Critics Are Most Excited About This Summer",
"twDescription": "",
"twImgId": "",
"socialTitle": "The Best Movies of Summer 2024, According to NPR Critics %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 19 Movies NPR Critics Are Most Excited About This Summer",
"datePublished": "2024-06-11T10:56:05-07:00",
"dateModified": "2024-06-11T10:56:05-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"nprStoryId": "kqed-13959577",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959577/best-movies-summer-2024-npr-critics-picks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\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>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\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/AmPPiLaiN8g'\n title='//www.youtube.com/embed/AmPPiLaiN8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\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/inAuktwXbew'\n title='//www.youtube.com/embed/inAuktwXbew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\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/YYsReoZMj1k'\n title='//www.youtube.com/embed/YYsReoZMj1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\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/gjx-iHGXk9Q'\n title='//www.youtube.com/embed/gjx-iHGXk9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\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/KoxhkE_U3Ww'\n title='//www.youtube.com/embed/KoxhkE_U3Ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\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/pn5fdK61o9c'\n title='//www.youtube.com/embed/pn5fdK61o9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\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/e6gve8GtSuU'\n title='//www.youtube.com/embed/e6gve8GtSuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\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/QB2LsoZOQpU'\n title='//www.youtube.com/embed/QB2LsoZOQpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959577/best-movies-summer-2024-npr-critics-picks",
"authors": [
"byline_arts_13959577"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_3324",
"arts_1009",
"arts_22150",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959597",
"label": "arts_140"
},
"arts_13959515": {
"type": "posts",
"id": "arts_13959515",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959515",
"score": null,
"sort": [
1718052367000
]
},
"guestAuthors": [],
"slug": "franz-kafka-tv-miniseries-review-kafkaesque-germany",
"title": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"publishDate": 1718052367,
"format": "standard",
"headTitle": "Franz Kafka’s Life Wasn’t So Kafkaesque After All, TV Miniseries Shows | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>[aside postid='arts_13959459']“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uAANEfhwgw8\u003c/p>\n\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>[aside postid='arts_13959205']Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>[aside postid='arts_13958863']In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>[aside postid='arts_13959163']Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "NPR speaks with lead actor Joel Basman and director David Schalko about his German-Austrian miniseries ‘Kafka.’",
"status": "publish",
"parent": 0,
"modified": 1726701273,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1364
},
"headData": {
"title": "‘Kafka’ Review: New TV Show Humanizes Enigmatic Writer | KQED",
"description": "NPR speaks with lead actor Joel Basman and director David Schalko about his German-Austrian miniseries ‘Kafka.’",
"ogTitle": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Kafka’ Review: New TV Show Humanizes Enigmatic Writer %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"datePublished": "2024-06-10T13:46:07-07:00",
"dateModified": "2024-09-18T16:14:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Olivia Hampton",
"nprStoryId": "nx-s1-4952406",
"nprHtmlLink": "https://www.npr.org/2024/06/10/nx-s1-4952406/kafka-tv-miniseries-kafkaesque",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-10T05:34:45.874-04:00",
"nprStoryDate": "2024-06-10T05:34:45.874-04:00",
"nprLastModifiedDate": "2024-06-10T14:20:16.816-04:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2024/06/20240610_me_franz_kafka_s_life_wasn_t_so_kafkaesque_after_all_tv_miniseries_shows.mp3?size=6496384&d=405971&e=nx-s1-4952406",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959515/franz-kafka-tv-miniseries-review-kafkaesque-germany",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2024/06/20240610_me_franz_kafka_s_life_wasn_t_so_kafkaesque_after_all_tv_miniseries_shows.mp3?size=6496384&d=405971&e=nx-s1-4952406",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959459",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uAANEfhwgw8'\n title='//www.youtube.com/embed/uAANEfhwgw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959205",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958863",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959163",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959515/franz-kafka-tv-miniseries-review-kafkaesque-germany",
"authors": [
"byline_arts_13959515"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_22115",
"arts_1050",
"arts_4566",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959519",
"label": "arts_140"
},
"arts_13959459": {
"type": "posts",
"id": "arts_13959459",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959459",
"score": null,
"sort": [
1717783251000
]
},
"guestAuthors": [],
"slug": "becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"title": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon",
"publishDate": 1717783251,
"format": "standard",
"headTitle": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new Hulu show takes us surprisingly deep inside a controversial figure who moved constantly forward, spurred on by ambition.",
"status": "publish",
"parent": 0,
"modified": 1717783251,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 820
},
"headData": {
"title": "‘Becoming Karl Lagerfeld’ Review: New Hulu Show Dives Deep | KQED",
"description": "A new Hulu show takes us surprisingly deep inside a controversial figure who moved constantly forward, spurred on by ambition.",
"ogTitle": "'Becoming Karl Lagerfeld' Is the Smart Backstory of a Complicated Style Icon",
"ogDescription": "",
"ogImgId": "",
"twTitle": "'Becoming Karl Lagerfeld' Is the Smart Backstory of a Complicated Style Icon",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Becoming Karl Lagerfeld’ Review: New Hulu Show Dives Deep%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon",
"datePublished": "2024-06-07T11:00:51-07:00",
"dateModified": "2024-06-07T11:00:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "John Powers",
"nprStoryId": "nx-s1-4992367",
"nprHtmlLink": "https://www.npr.org/2024/06/04/nx-s1-4992367/becoming-karl-lagerfeld-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-07T11:51:50.657-04:00",
"nprStoryDate": "2024-06-07T11:51:50.657-04:00",
"nprLastModifiedDate": "2024-06-07T11:52:06.816-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959459/becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928464",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dWs94_ZaDLw'\n title='//www.youtube.com/embed/dWs94_ZaDLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958404",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959459/becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"authors": [
"byline_arts_13959459"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_76",
"arts_75",
"arts_990"
],
"tags": [
"arts_22004",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959461",
"label": "arts_140"
},
"arts_13958423": {
"type": "posts",
"id": "arts_13958423",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13958423",
"score": null,
"sort": [
1717707722000
]
},
"guestAuthors": [],
"slug": "juan-toscano-anderson-the-break-warriors-nba",
"title": "For This Former Golden State Warrior, Stardom Knows No Borders",
"publishDate": 1717707722,
"format": "standard",
"headTitle": "For This Former Golden State Warrior, Stardom Knows No Borders | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>There aren’t many hoopers in NBA folklore like Juan Toscano-Anderson. The former Golden State Warriors champion and proud East Oakland representative is one of the only Afro Mexican American players to ever suit up in the Association’s history — and the sole Mexican citizen to hoist an NBA title.\u003c/p>\n\u003cp>An alumnus of Castro Valley High School, Toscano-Anderson (endearingly known as JTA) has long been a beloved figure in the Bay Area basketball community. But his popularity in Mexico is something else entirely: He’s one of the country’s most prized hoopers, with a celestial status that radiates superstardom below the border.\u003c/p>\n\u003cp>His cult following is evident in the newest season of \u003ca href=\"https://gleague.nba.com/videos/the-break?video=m-c3GfI9xpQ\">\u003ci>The Break,\u003c/i>\u003c/a> a docuseries that follows three players in the NBA’s G League as they navigate the complexities of professional basketball at different points in their careers. Toscano-Anderson’s return to his family’s homeland — his mother’s side of the family immigrated to the U.S. from Michoacán in the 1960s — comprises a major storyline in the series, which premiered on YouTube at the start of this past basketball season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qW5shf31Sb8\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Toscano-Anderson first moved to Mexico City to pursue hoops after he went undrafted out of Marquette University in 2015. At the time, Mexico provided his only shot at eventually reaching his NBA dream. From there, he earned his way onto Mexico’s national team, and soon after became the Liga Nacional de Baloncesto Profesional’s Most Valuable Player and a two-time champion. His hustle gained him a roster spot with the Golden State Warriors’ G League team in 2019, where he became a fan favorite.\u003c/p>\n\u003cp>Nearly a decade later, after contributions with Golden State, the Los Angeles Lakers and the Utah Jazz, Toscano-Anderson landed back in Mexico City as a veteran captain of the NBA G League’s Mexico City Capitanes. The team, which is the only Mexican-owned franchise to compete in any U.S.-based league, signed Toscano-Anderson at the start of the 2023-24 season, generating national fanfare in Mexico.\u003c/p>\n\u003cfigure id=\"attachment_13958425\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958425 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg\" alt=\"a basketball player points to the crowd during a basketball game\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Juan Toscano-Anderson’s return to Mexico City was met with a national excitement. \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being able to embrace and indulge in my culture again, and being a representative of Mexican basketball and helping the sport grow [is] a highlight in itself,” Toscano-Anderson told me in a Zoom interview earlier this year. “I want to be that bridge, that pipeline to give Mexican Americans [a chance] when they can’t go straight to the NBA. If I didn’t have a Mexican passport, then I don’t know if I’d even be in the NBA. Having that gave me an opportunity to continue to play basketball.”\u003c/p>\n\u003cp>For an entire season, Toscano-Anderson grappled with an emotional homecoming in Mexico City, amid the birth of his son and the general uncertainty of playing in the NBA’s minor league system. It was a period filled with ups and downs, including Toscano-Anderson’s brief return to the NBA with the Sacramento Kings. (He concluded an injury-stunted season with the Capitanes.)\u003c/p>\n\u003cp>Eduardo Villalpando, a Mexican YouTuber, filmed \u003ca href=\"https://www.youtube.com/watch?v=sjrVYNQM9X0\">Toscano-Anderson’s debut game at Arena CDMX\u003c/a> in Azcapotzalco. “He’s like a superhero; he’s more famous than [president] Andrés Manuel López Obrador,” Villalpando said in his recording.\u003c/p>\n\u003cfigure id=\"attachment_13958429\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958429 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg\" alt=\"a film director and photographer pose on a basketball court in between filming\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Sharp (left) and Ryan Pham (right) directed and filmed ‘The Break.’ \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our Zoom call, Toscano-Anderson explained how he felt during that game: “I’m going to represent my family, represent my country, and represent my son. I want to serve as an ambassador for Mexico and Mexican basketball. I want to give other people who look like me — Afro Latinos, Mexican Americans — I want to give them opportunities similar to mine.”\u003c/p>\n\u003cp>For \u003cem>The Break’\u003c/em>s director \u003ca href=\"https://www.instagram.com/tsharp94/\">Taylor Sharp\u003c/a> — a North Carolina-raised, Brooklyn-based filmmaker and avid basketball fan — Toscano-Anderson’s story is unlike any other player he has ever documented.\u003c/p>\n\u003cp>“I was surprised to see so many Toscano jerseys in the crowd, 16,000 fans chanting his name [on opening night in Mexico City],” Sharp said. “He’s on a very short list of successful players [with Mexican heritage], and watching him play on ESPN in Mexico, that was a rare moment [for Mexican fans] to have one of their superstars.”\u003c/p>\n\u003cp>Sharp chose to focus closely on Toscano-Anderson’s connection to the country across multiple episodes, including “\u003ca href=\"https://www.youtube.com/watch?v=qW5shf31Sb8\">El Capitán\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=lSrsfN6XKjo\">The Return\u003c/a>.” Later in the series, Toscano-Anderson’s Northern California visit is filmed, as well as his final moments of the season as he interacts with \u003ca href=\"https://www.youtube.com/watch?v=Rv5lYgftXEk\">jubilant Mexican fans\u003c/a> who came out to meet him during a road game in New Jersey.\u003c/p>\n\u003cp>Whatever follows for JTA remains to be seen; he hasn’t yet announced his next steps or whether he’ll remain in Mexico City. But it’s evident that the baller will continue uplifting Mexico (and the Bay Area) as part of his storied legacy. For fans who don’t often see themselves represented in the world of professional basketball, seeing Toscano-Anderson’s ascension is more important than any final score.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>All six episodes of ‘The Break’ can be streamed on the \u003ca href=\"https://www.youtube.com/@nbagleague\">NBA G League’s official YouTube channel\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The docuseries ‘The Break’ follows Juan Toscano-Anderson’s journey from East Oakland to Mexico City.",
"status": "publish",
"parent": 0,
"modified": 1726701298,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 958
},
"headData": {
"title": "For This Former Golden State Warrior, Stardom Knows No Borders | KQED",
"description": "The docuseries ‘The Break’ follows Juan Toscano-Anderson’s journey from East Oakland to Mexico City.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "For This Former Golden State Warrior, Stardom Knows No Borders",
"datePublished": "2024-06-06T14:02:02-07:00",
"dateModified": "2024-09-18T16:14:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13958423",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13958423/juan-toscano-anderson-the-break-warriors-nba",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t many hoopers in NBA folklore like Juan Toscano-Anderson. The former Golden State Warriors champion and proud East Oakland representative is one of the only Afro Mexican American players to ever suit up in the Association’s history — and the sole Mexican citizen to hoist an NBA title.\u003c/p>\n\u003cp>An alumnus of Castro Valley High School, Toscano-Anderson (endearingly known as JTA) has long been a beloved figure in the Bay Area basketball community. But his popularity in Mexico is something else entirely: He’s one of the country’s most prized hoopers, with a celestial status that radiates superstardom below the border.\u003c/p>\n\u003cp>His cult following is evident in the newest season of \u003ca href=\"https://gleague.nba.com/videos/the-break?video=m-c3GfI9xpQ\">\u003ci>The Break,\u003c/i>\u003c/a> a docuseries that follows three players in the NBA’s G League as they navigate the complexities of professional basketball at different points in their careers. Toscano-Anderson’s return to his family’s homeland — his mother’s side of the family immigrated to the U.S. from Michoacán in the 1960s — comprises a major storyline in the series, which premiered on YouTube at the start of this past basketball season.\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/qW5shf31Sb8'\n title='//www.youtube.com/embed/qW5shf31Sb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \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>Toscano-Anderson first moved to Mexico City to pursue hoops after he went undrafted out of Marquette University in 2015. At the time, Mexico provided his only shot at eventually reaching his NBA dream. From there, he earned his way onto Mexico’s national team, and soon after became the Liga Nacional de Baloncesto Profesional’s Most Valuable Player and a two-time champion. His hustle gained him a roster spot with the Golden State Warriors’ G League team in 2019, where he became a fan favorite.\u003c/p>\n\u003cp>Nearly a decade later, after contributions with Golden State, the Los Angeles Lakers and the Utah Jazz, Toscano-Anderson landed back in Mexico City as a veteran captain of the NBA G League’s Mexico City Capitanes. The team, which is the only Mexican-owned franchise to compete in any U.S.-based league, signed Toscano-Anderson at the start of the 2023-24 season, generating national fanfare in Mexico.\u003c/p>\n\u003cfigure id=\"attachment_13958425\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958425 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg\" alt=\"a basketball player points to the crowd during a basketball game\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Juan Toscano-Anderson’s return to Mexico City was met with a national excitement. \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being able to embrace and indulge in my culture again, and being a representative of Mexican basketball and helping the sport grow [is] a highlight in itself,” Toscano-Anderson told me in a Zoom interview earlier this year. “I want to be that bridge, that pipeline to give Mexican Americans [a chance] when they can’t go straight to the NBA. If I didn’t have a Mexican passport, then I don’t know if I’d even be in the NBA. Having that gave me an opportunity to continue to play basketball.”\u003c/p>\n\u003cp>For an entire season, Toscano-Anderson grappled with an emotional homecoming in Mexico City, amid the birth of his son and the general uncertainty of playing in the NBA’s minor league system. It was a period filled with ups and downs, including Toscano-Anderson’s brief return to the NBA with the Sacramento Kings. (He concluded an injury-stunted season with the Capitanes.)\u003c/p>\n\u003cp>Eduardo Villalpando, a Mexican YouTuber, filmed \u003ca href=\"https://www.youtube.com/watch?v=sjrVYNQM9X0\">Toscano-Anderson’s debut game at Arena CDMX\u003c/a> in Azcapotzalco. “He’s like a superhero; he’s more famous than [president] Andrés Manuel López Obrador,” Villalpando said in his recording.\u003c/p>\n\u003cfigure id=\"attachment_13958429\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958429 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg\" alt=\"a film director and photographer pose on a basketball court in between filming\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Sharp (left) and Ryan Pham (right) directed and filmed ‘The Break.’ \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our Zoom call, Toscano-Anderson explained how he felt during that game: “I’m going to represent my family, represent my country, and represent my son. I want to serve as an ambassador for Mexico and Mexican basketball. I want to give other people who look like me — Afro Latinos, Mexican Americans — I want to give them opportunities similar to mine.”\u003c/p>\n\u003cp>For \u003cem>The Break’\u003c/em>s director \u003ca href=\"https://www.instagram.com/tsharp94/\">Taylor Sharp\u003c/a> — a North Carolina-raised, Brooklyn-based filmmaker and avid basketball fan — Toscano-Anderson’s story is unlike any other player he has ever documented.\u003c/p>\n\u003cp>“I was surprised to see so many Toscano jerseys in the crowd, 16,000 fans chanting his name [on opening night in Mexico City],” Sharp said. “He’s on a very short list of successful players [with Mexican heritage], and watching him play on ESPN in Mexico, that was a rare moment [for Mexican fans] to have one of their superstars.”\u003c/p>\n\u003cp>Sharp chose to focus closely on Toscano-Anderson’s connection to the country across multiple episodes, including “\u003ca href=\"https://www.youtube.com/watch?v=qW5shf31Sb8\">El Capitán\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=lSrsfN6XKjo\">The Return\u003c/a>.” Later in the series, Toscano-Anderson’s Northern California visit is filmed, as well as his final moments of the season as he interacts with \u003ca href=\"https://www.youtube.com/watch?v=Rv5lYgftXEk\">jubilant Mexican fans\u003c/a> who came out to meet him during a road game in New Jersey.\u003c/p>\n\u003cp>Whatever follows for JTA remains to be seen; he hasn’t yet announced his next steps or whether he’ll remain in Mexico City. But it’s evident that the baller will continue uplifting Mexico (and the Bay Area) as part of his storied legacy. For fans who don’t often see themselves represented in the world of professional basketball, seeing Toscano-Anderson’s ascension is more important than any final score.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>All six episodes of ‘The Break’ can be streamed on the \u003ca href=\"https://www.youtube.com/@nbagleague\">NBA G League’s official YouTube channel\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13958423/juan-toscano-anderson-the-break-warriors-nba",
"authors": [
"11748"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_7875",
"arts_5786",
"arts_5016",
"arts_9346",
"arts_877",
"arts_5573",
"arts_5787"
],
"featImg": "arts_13958427",
"label": "arts"
},
"arts_13959205": {
"type": "posts",
"id": "arts_13959205",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959205",
"score": null,
"sort": [
1717526310000
]
},
"guestAuthors": [],
"slug": "best-tv-to-watch-stream-this-summer-2024-hulu-apple-fx-netflix",
"title": "What to Watch This Summer: 18 TV Shows to Look Forward To",
"publishDate": 1717526310,
"format": "standard",
"headTitle": "What to Watch This Summer: 18 TV Shows to Look Forward To | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=WPIcQNMQchQ\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Hy1q_YIAL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yUW-bQ3buY\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNSY3lMioHs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzFXDvC-EwM\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YN2H_sKcmGw\u003c/p>\n\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-1V_dRubUg\u003c/p>\n\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-QqOkpu9_tg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwFty8yi1cU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUlP-BkJUFs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEkSnH0g2g\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6xouFXMOvaU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKxQEIOu_Yg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=s0LVj0yo308\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Shows you should check out in June, July and August — including the return of ‘The Bear’ and ‘House of the Dragon.’",
"status": "publish",
"parent": 0,
"modified": 1717526987,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 40,
"wordCount": 1998
},
"headData": {
"title": "Best TV Shows to Stream, Summer 2024 | KQED",
"description": "Shows you should check out in June, July and August — including the return of ‘The Bear’ and ‘House of the Dragon.’",
"ogTitle": "What to Watch This Summer: 18 TV Shows to Look Forward to",
"ogDescription": "",
"ogImgId": "",
"twTitle": "What to Watch This Summer: 18 TV Shows to Look Forward to",
"twDescription": "",
"twImgId": "",
"socialTitle": "Best TV Shows to Stream, Summer 2024 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What to Watch This Summer: 18 TV Shows to Look Forward To",
"datePublished": "2024-06-04T11:38:30-07:00",
"dateModified": "2024-06-04T11:49:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Eric Deggans, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"nprStoryId": "nx-s1-4957795",
"nprHtmlLink": "https://www.npr.org/2024/06/04/nx-s1-4957795/what-to-watch-netflix-hbo-max-hulu-apple-tv",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-04T07:00:00-04:00",
"nprStoryDate": "2024-06-04T07:00:00-04:00",
"nprLastModifiedDate": "2024-06-04T07:01:02.808-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959205/best-tv-to-watch-stream-this-summer-2024-hulu-apple-fx-netflix",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\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/WPIcQNMQchQ'\n title='//www.youtube.com/embed/WPIcQNMQchQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\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/0Hy1q_YIAL4'\n title='//www.youtube.com/embed/0Hy1q_YIAL4'\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>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\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/_yUW-bQ3buY'\n title='//www.youtube.com/embed/_yUW-bQ3buY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\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/ZNSY3lMioHs'\n title='//www.youtube.com/embed/ZNSY3lMioHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\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/EzFXDvC-EwM'\n title='//www.youtube.com/embed/EzFXDvC-EwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\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/YN2H_sKcmGw'\n title='//www.youtube.com/embed/YN2H_sKcmGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\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/P-1V_dRubUg'\n title='//www.youtube.com/embed/P-1V_dRubUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\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/-QqOkpu9_tg'\n title='//www.youtube.com/embed/-QqOkpu9_tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\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/PwFty8yi1cU'\n title='//www.youtube.com/embed/PwFty8yi1cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\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/rUlP-BkJUFs'\n title='//www.youtube.com/embed/rUlP-BkJUFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\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/OgEkSnH0g2g'\n title='//www.youtube.com/embed/OgEkSnH0g2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\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/6xouFXMOvaU'\n title='//www.youtube.com/embed/6xouFXMOvaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\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/IKxQEIOu_Yg'\n title='//www.youtube.com/embed/IKxQEIOu_Yg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\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/s0LVj0yo308'\n title='//www.youtube.com/embed/s0LVj0yo308'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\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>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959205/best-tv-to-watch-stream-this-summer-2024-hulu-apple-fx-netflix",
"authors": [
"byline_arts_13959205"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_21977",
"arts_9222",
"arts_8237",
"arts_8350",
"arts_5234",
"arts_20624",
"arts_3324",
"arts_21825",
"arts_21794",
"arts_10521",
"arts_22150",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959207",
"label": "arts_140"
},
"arts_13959163": {
"type": "posts",
"id": "arts_13959163",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959163",
"score": null,
"sort": [
1717512155000
]
},
"guestAuthors": [],
"slug": "idris-elba-world-war-ii-documentary-erased-heroes-of-color-hulu",
"title": "Idris Elba Helps Uncover the WWII Soldiers of Color Who Never Got Their Due",
"publishDate": 1717512155,
"format": "standard",
"headTitle": "Idris Elba Helps Uncover the WWII Soldiers of Color Who Never Got Their Due | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>One of Idris Elba’s grandfathers fought in World War II, but he doesn’t know what he endured. No pictures or stories survive. “That part of my family’s history has been erased somewhat,” says Elba.\u003c/p>\n\u003cp>That helped fuel the actor’s push to narrate and executive produce the four-part National Geographic docuseries \u003cem>Erased: WW2’s Heroes of Color\u003c/em>, which premieres days ahead of the 80th anniversary of D-Day, when the Allies landed on the coast of France, on June 6. Episodes will also later be available on Disney+ and Hulu.\u003c/p>\n\u003cp>[aside postid='arts_13957545']More than 8 million people of color served with the Allies, and the series digs deep to focus on how some fared at D-Day, Dunkirk, Pearl Harbor and the Battle of the Bulge.\u003c/p>\n\u003cp>It tells the story of the 320th Barrage Balloon Battalion, the only all-Black combat unit to fight on the D-Day beaches, and Force K6, a little-known Indian regiment of mule handlers from the British army trying to evacuate at Dunkirk.\u003c/p>\n\u003cp>The series uses archival footage, descendant interviews, soldier journals and actor portrayals — a mix that Elba says he found visceral and moving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It really did actually impact me just in the narration booth, watching the imagery, looking at the faces, wondering about my own personal connect. Could my grandfather be one of the people in one of the pieces? That was what I thought about. So, it did definitely resonate with me.\u003c/p>\n\u003cp>The series also highlights stories like that of Doris Miller, a mess attendant aboard the USS West Virginia who after the Japanese attack at Pearl Harbor raced to an unattended anti-aircraft gun and fired at the planes until forced to abandon ship.\u003c/p>\n\u003cp>He had never been trained to use the gun because Black sailors serving in the segregated steward’s branch of the Navy were not given the gunnery training received by white sailors. Miller’s bravery earned him the Navy Cross.\u003c/p>\n\u003cp>[aside postid='arts_13929913']“It just feels like a privilege and an honor to be able to shed some light on their stories,” says director Shianne Brown, who helmed the D-Day episode.\u003c/p>\n\u003cp>Her episode highlighted Waverly Woodson, Jr., a medic who was wounded by shrapnel during the landing but nevertheless spent the next 30 hours treating the wounded and the dying on Omaha Beach. He would note: “There’s no such thing as a color barrier in action.”\u003c/p>\n\u003cp>Brown says that observation proved so powerful. “If your leg has just been blown off, you need a medic to help you. At that moment, you’re not going to say to Waverly, ‘No, I don’t want you to treat me.’”\u003c/p>\n\u003cp>Woodson is being posthumously awarded the Distinguished Service Cross. The announcement was made Monday by Sen. Chris Van Hollen of Maryland. Woodson died in 2005.\u003c/p>\n\u003cp>The series points out that many soldiers of color who fought the Nazis in Europe went home — the Indians back to British colonization and Black Americans to bitter racism — and began agitating for change because of what they’d witnessed and earned. Civil rights icon Medgar Evers, after all, was at D-Day.\u003c/p>\n\u003cp>“A lot of these men and women never felt like they were human before going to Europe and then being treated like a normal human being by the white population,” says Brown. “I can’t even imagine how that would have felt for them. You’ve been fighting against Hitler and the Nazis and against fascism and hate, and you go home and you experience racial terror.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=InQMoBvzQeY\u003c/p>\n\u003cp>The filmmakers found very little footage of non-white soldiers in the archives and so were moved when they finally came across images of a Black unit marching in central England before D-Day or Black soldiers cheering the fall of the Nazis. “It was just very odd to see a Black man in Nazi Germany,” says Elba.\u003c/p>\n\u003cp>Elba urged the directors and editors to try to put the audience into the action, like the films \u003cem>Saving Private Ryan\u003c/em> or \u003cem>Dunkirk\u003c/em>. That meant filming recreations of bombings in villages in France, wading into the ocean with heavy gear and soldiers enduring beach strafing.\u003c/p>\n\u003cp>[aside postid='arts_13931436']“I was really encouraging of the filmmakers to really go for it,” he says. “Giving you a little glimpse of, from a fictional perspective, what it might have looked like and how heroic these soldiers were.”\u003c/p>\n\u003cp>At the same time, the filmmakers wanted to show how horrible and frightening combat can be, the randomness of casualties and the agonizing wait before deployment.\u003c/p>\n\u003cp>“We don’t want to glorify what’s going on, but we actually wanted to paint the heroism in a way that was relatable to the way we’ve seen films of this nature,” Elba says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Erased: WW2’s Heroes of Color is streaming now on National Geographic, Hulu and Disney+.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Erased: WW2’s Heroes of Color’ honors the 8 million people of color who fought in D-Day, Dunkirk, Battle of the Bulge and more.",
"status": "publish",
"parent": 0,
"modified": 1717458187,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 865
},
"headData": {
"title": "TV Review: Idris Elba’s ‘Erased: WW2’s Heroes of Color’ | KQED",
"description": "‘Erased: WW2’s Heroes of Color’ honors the 8 million people of color who fought in D-Day, Dunkirk, Battle of the Bulge and more.",
"ogTitle": "Idris Elba Helps Uncover the WWII Soldiers of Color Who Never Got Their Due",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Idris Elba Helps Uncover the WWII Soldiers of Color Who Never Got Their Due",
"twDescription": "",
"twImgId": "",
"socialTitle": "TV Review: Idris Elba’s ‘Erased: WW2’s Heroes of Color’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Idris Elba Helps Uncover the WWII Soldiers of Color Who Never Got Their Due",
"datePublished": "2024-06-04T07:42:35-07:00",
"dateModified": "2024-06-03T16:43:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959163/idris-elba-world-war-ii-documentary-erased-heroes-of-color-hulu",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of Idris Elba’s grandfathers fought in World War II, but he doesn’t know what he endured. No pictures or stories survive. “That part of my family’s history has been erased somewhat,” says Elba.\u003c/p>\n\u003cp>That helped fuel the actor’s push to narrate and executive produce the four-part National Geographic docuseries \u003cem>Erased: WW2’s Heroes of Color\u003c/em>, which premieres days ahead of the 80th anniversary of D-Day, when the Allies landed on the coast of France, on June 6. Episodes will also later be available on Disney+ and Hulu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957545",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>More than 8 million people of color served with the Allies, and the series digs deep to focus on how some fared at D-Day, Dunkirk, Pearl Harbor and the Battle of the Bulge.\u003c/p>\n\u003cp>It tells the story of the 320th Barrage Balloon Battalion, the only all-Black combat unit to fight on the D-Day beaches, and Force K6, a little-known Indian regiment of mule handlers from the British army trying to evacuate at Dunkirk.\u003c/p>\n\u003cp>The series uses archival footage, descendant interviews, soldier journals and actor portrayals — a mix that Elba says he found visceral and moving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It really did actually impact me just in the narration booth, watching the imagery, looking at the faces, wondering about my own personal connect. Could my grandfather be one of the people in one of the pieces? That was what I thought about. So, it did definitely resonate with me.\u003c/p>\n\u003cp>The series also highlights stories like that of Doris Miller, a mess attendant aboard the USS West Virginia who after the Japanese attack at Pearl Harbor raced to an unattended anti-aircraft gun and fired at the planes until forced to abandon ship.\u003c/p>\n\u003cp>He had never been trained to use the gun because Black sailors serving in the segregated steward’s branch of the Navy were not given the gunnery training received by white sailors. Miller’s bravery earned him the Navy Cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13929913",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It just feels like a privilege and an honor to be able to shed some light on their stories,” says director Shianne Brown, who helmed the D-Day episode.\u003c/p>\n\u003cp>Her episode highlighted Waverly Woodson, Jr., a medic who was wounded by shrapnel during the landing but nevertheless spent the next 30 hours treating the wounded and the dying on Omaha Beach. He would note: “There’s no such thing as a color barrier in action.”\u003c/p>\n\u003cp>Brown says that observation proved so powerful. “If your leg has just been blown off, you need a medic to help you. At that moment, you’re not going to say to Waverly, ‘No, I don’t want you to treat me.’”\u003c/p>\n\u003cp>Woodson is being posthumously awarded the Distinguished Service Cross. The announcement was made Monday by Sen. Chris Van Hollen of Maryland. Woodson died in 2005.\u003c/p>\n\u003cp>The series points out that many soldiers of color who fought the Nazis in Europe went home — the Indians back to British colonization and Black Americans to bitter racism — and began agitating for change because of what they’d witnessed and earned. Civil rights icon Medgar Evers, after all, was at D-Day.\u003c/p>\n\u003cp>“A lot of these men and women never felt like they were human before going to Europe and then being treated like a normal human being by the white population,” says Brown. “I can’t even imagine how that would have felt for them. You’ve been fighting against Hitler and the Nazis and against fascism and hate, and you go home and you experience racial terror.”\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/InQMoBvzQeY'\n title='//www.youtube.com/embed/InQMoBvzQeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The filmmakers found very little footage of non-white soldiers in the archives and so were moved when they finally came across images of a Black unit marching in central England before D-Day or Black soldiers cheering the fall of the Nazis. “It was just very odd to see a Black man in Nazi Germany,” says Elba.\u003c/p>\n\u003cp>Elba urged the directors and editors to try to put the audience into the action, like the films \u003cem>Saving Private Ryan\u003c/em> or \u003cem>Dunkirk\u003c/em>. That meant filming recreations of bombings in villages in France, wading into the ocean with heavy gear and soldiers enduring beach strafing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931436",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I was really encouraging of the filmmakers to really go for it,” he says. “Giving you a little glimpse of, from a fictional perspective, what it might have looked like and how heroic these soldiers were.”\u003c/p>\n\u003cp>At the same time, the filmmakers wanted to show how horrible and frightening combat can be, the randomness of casualties and the agonizing wait before deployment.\u003c/p>\n\u003cp>“We don’t want to glorify what’s going on, but we actually wanted to paint the heroism in a way that was relatable to the way we’ve seen films of this nature,” Elba says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Erased: WW2’s Heroes of Color is streaming now on National Geographic, Hulu and Disney+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959163/idris-elba-world-war-ii-documentary-erased-heroes-of-color-hulu",
"authors": [
"byline_arts_13959163"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_990"
],
"tags": [
"arts_4097",
"arts_13672",
"arts_1050",
"arts_22173",
"arts_585",
"arts_3038"
],
"featImg": "arts_13959170",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 144,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1036,
"relation": "eq"
},
"items": [
"arts_13960144",
"arts_13960094",
"arts_13959918",
"arts_13959899",
"arts_13959635",
"arts_13959601",
"arts_13959577",
"arts_13959515",
"arts_13959459",
"arts_13958423",
"arts_13959205",
"arts_13959163"
],
"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"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_5426": {
"type": "terms",
"id": "arts_5426",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5426",
"found": true
},
"relationships": {},
"name": "1960s",
"slug": "1960s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1960s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 5438,
"isLoading": false,
"link": "/arts/tag/1960s"
},
"arts_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_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_4017": {
"type": "terms",
"id": "arts_4017",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4017",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hunters point",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hunters point Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4029,
"slug": "hunters-point",
"isLoading": false,
"link": "/arts/tag/hunters-point"
},
"arts_3087": {
"type": "terms",
"id": "arts_3087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "james baldwin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "james baldwin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3099,
"slug": "james-baldwin",
"isLoading": false,
"link": "/arts/tag/james-baldwin"
},
"arts_3652": {
"type": "terms",
"id": "arts_3652",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3652",
"found": true
},
"relationships": {},
"featImg": null,
"name": "racism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "racism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3664,
"slug": "racism",
"isLoading": false,
"link": "/arts/tag/racism"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"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_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"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_8530": {
"type": "terms",
"id": "arts_8530",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8530",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1970s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1970s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8542,
"slug": "1970s",
"isLoading": false,
"link": "/arts/tag/1970s"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"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_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_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_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_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_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_9124": {
"type": "terms",
"id": "arts_9124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9124",
"found": true
},
"relationships": {},
"name": "Animals",
"slug": "animals",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Animals | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 9136,
"isLoading": false,
"link": "/arts/tag/animals"
},
"arts_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_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
},
"arts_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"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_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_1009": {
"type": "terms",
"id": "arts_1009",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1009",
"found": true
},
"relationships": {},
"featImg": null,
"name": "preview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "preview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1026,
"slug": "preview",
"isLoading": false,
"link": "/arts/tag/preview"
},
"arts_22150": {
"type": "terms",
"id": "arts_22150",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22150",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Summer Guide 2024",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Summer Guide 2024 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22162,
"slug": "summer-guide-2024",
"isLoading": false,
"link": "/arts/tag/summer-guide-2024"
},
"arts_22115": {
"type": "terms",
"id": "arts_22115",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22115",
"found": true
},
"relationships": {},
"featImg": null,
"name": "biography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "biography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22127,
"slug": "biography",
"isLoading": false,
"link": "/arts/tag/biography"
},
"arts_1050": {
"type": "terms",
"id": "arts_1050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "interview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "interview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1067,
"slug": "interview",
"isLoading": false,
"link": "/arts/tag/interview"
},
"arts_4566": {
"type": "terms",
"id": "arts_4566",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4566",
"found": true
},
"relationships": {},
"featImg": null,
"name": "literature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "literature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4578,
"slug": "literature",
"isLoading": false,
"link": "/arts/tag/literature"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_22004": {
"type": "terms",
"id": "arts_22004",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22004",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Paris",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Paris Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22016,
"slug": "paris",
"isLoading": false,
"link": "/arts/tag/paris"
},
"arts_7875": {
"type": "terms",
"id": "arts_7875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "afro-latinx representation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "afro-latinx representation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7887,
"slug": "afro-latinx-representation",
"isLoading": false,
"link": "/arts/tag/afro-latinx-representation"
},
"arts_5786": {
"type": "terms",
"id": "arts_5786",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5786",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Basketball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Basketball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5798,
"slug": "basketball",
"isLoading": false,
"link": "/arts/tag/basketball"
},
"arts_5016": {
"type": "terms",
"id": "arts_5016",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5016",
"found": true
},
"relationships": {},
"featImg": null,
"name": "east oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "east oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5028,
"slug": "east-oakland",
"isLoading": false,
"link": "/arts/tag/east-oakland"
},
"arts_9346": {
"type": "terms",
"id": "arts_9346",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9346",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden state warriors",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden state warriors Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9358,
"slug": "golden-state-warriors",
"isLoading": false,
"link": "/arts/tag/golden-state-warriors"
},
"arts_877": {
"type": "terms",
"id": "arts_877",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "877",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mexican American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mexican American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 895,
"slug": "mexican-american",
"isLoading": false,
"link": "/arts/tag/mexican-american"
},
"arts_5573": {
"type": "terms",
"id": "arts_5573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mexico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mexico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5585,
"slug": "mexico",
"isLoading": false,
"link": "/arts/tag/mexico"
},
"arts_5787": {
"type": "terms",
"id": "arts_5787",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5787",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NBA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NBA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5799,
"slug": "nba",
"isLoading": false,
"link": "/arts/tag/nba"
},
"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_21977": {
"type": "terms",
"id": "arts_21977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21977",
"found": true
},
"relationships": {},
"featImg": null,
"name": "AMC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "AMC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21989,
"slug": "amc",
"isLoading": false,
"link": "/arts/tag/amc"
},
"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_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_21825": {
"type": "terms",
"id": "arts_21825",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21825",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Paramount+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Paramount+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21837,
"slug": "paramount",
"isLoading": false,
"link": "/arts/tag/paramount"
},
"arts_21794": {
"type": "terms",
"id": "arts_21794",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21794",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Peacock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Peacock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21806,
"slug": "peacock",
"isLoading": false,
"link": "/arts/tag/peacock"
},
"arts_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_4097": {
"type": "terms",
"id": "arts_4097",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4097",
"found": true
},
"relationships": {},
"featImg": null,
"name": "black history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "black history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4109,
"slug": "black-history",
"isLoading": false,
"link": "/arts/tag/black-history"
},
"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_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
}
},
"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
}
}
