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_13954339": {
"type": "attachments",
"id": "arts_13954339",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954339",
"found": true
},
"parent": 13954333,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-160x104.png",
"width": 160,
"mimeType": "image/png",
"height": 104
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM.png",
"width": 1726,
"height": 1118
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-1020x661.png",
"width": 1020,
"mimeType": "image/png",
"height": 661
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-1536x995.png",
"width": 1536,
"mimeType": "image/png",
"height": 995
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-800x518.png",
"width": 800,
"mimeType": "image/png",
"height": 518
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.15.37-AM-768x497.png",
"width": 768,
"mimeType": "image/png",
"height": 497
}
},
"publishDate": 1710872220,
"modified": 1710872289,
"caption": "Conor McGregor and Jake Gyllenhaal face off in the 2024 remake of ‘Road House.’ ",
"description": null,
"title": "Conor McGregor and Jake Gyllenhaal face off in the 2024 remake of ‘Road House.’",
"credit": "Laura Radford/ Prime Video via AP",
"status": "inherit",
"altTag": "A square-jawed white man stares into the face of a shorter, bearded white man, as if they are about to fight.",
"isLoading": false,
"fetchFailed": false
},
"arts_13954226": {
"type": "attachments",
"id": "arts_13954226",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954226",
"found": true
},
"parent": 13954225,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-160x85.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 85
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e.jpe",
"width": 1787,
"height": 945
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-1020x539.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 539
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-1536x812.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 812
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-800x423.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 423
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-alexa_custom-9afb4307a7f9f163df73e005466e47ec4da85f4e-768x406.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 406
}
},
"publishDate": 1710774343,
"modified": 1710775409,
"caption": "Former Nickelodeon star Alexa Nikola speaks during the docuseries, ‘Quiet on Set.’",
"description": null,
"title": "Former Nickelodeon star Alexa Nikola speaks during the docuseries, ‘Quiet on Set.’",
"credit": "ID/ Warner Bros.",
"status": "inherit",
"altTag": "A white woman with long brown hair sits at a transparent table, wearing a striking orange dress with puffy sleeves.",
"isLoading": false,
"fetchFailed": false
},
"arts_13954157": {
"type": "attachments",
"id": "arts_13954157",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954157",
"found": true
},
"parent": 13954052,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-160x98.png",
"width": 160,
"mimeType": "image/png",
"height": 98
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM.png",
"width": 1806,
"height": 1104
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-1020x624.png",
"width": 1020,
"mimeType": "image/png",
"height": 624
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-1536x939.png",
"width": 1536,
"mimeType": "image/png",
"height": 939
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-800x489.png",
"width": 800,
"mimeType": "image/png",
"height": 489
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-768x469.png",
"width": 768,
"mimeType": "image/png",
"height": 469
}
},
"publishDate": 1710457951,
"modified": 1710458017,
"caption": "Lili Taylor as Mary Todd Lincoln and Hamish Linklater as Abraham Lincoln in ‘Manhunt.’",
"description": null,
"title": "Lili Taylor as Mary Todd Lincoln and Hamish Linklater as Abraham Lincoln in ‘Manhunt.’",
"credit": "Apple TV+",
"status": "inherit",
"altTag": "Actors playing President Lincoln and his wife sit in a theater box, an American flag draped in front of them.",
"isLoading": false,
"fetchFailed": false
},
"arts_13953128": {
"type": "attachments",
"id": "arts_13953128",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13953128",
"found": true
},
"parent": 13953127,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-scaled.jpg",
"width": 2560,
"height": 1920
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1784132_13752b-285c0fd43b0b140c4225a4e1ee5b698d3344130e-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1709145334,
"modified": 1709146395,
"caption": "Carrie Preston stars an an astute but unconventional attorney in ‘Elsbeth.’",
"description": null,
"title": "Carrie Preston stars an an astute but unconventional attorney in ‘Elsbeth.’",
"credit": "Elizabeth Fisher/ CBS",
"status": "inherit",
"altTag": "A sidewalk scattered with police officers. A colorfully dressed woman peers in front of them, playfully.",
"isLoading": false,
"fetchFailed": false
},
"arts_13953067": {
"type": "attachments",
"id": "arts_13953067",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13953067",
"found": true
},
"title": "Anna Sawai plays translator Toda Mariko in the new FX series ‘Shōgun.’",
"publishDate": 1709059677,
"status": "inherit",
"parent": 13953066,
"modified": 1721236317,
"caption": "Anna Sawai plays translator Toda Mariko in the FX series ‘Shōgun.’",
"credit": "Katie Yu/FX",
"altTag": "A Japanese woman in traditional clothing.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-2048x1152.jpg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/shogun_101_03553r_wide-3ee8032a997e03fad8e52899361787846a53636a-scaled-e1709060077101.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13953001": {
"type": "attachments",
"id": "arts_13953001",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13953001",
"found": true
},
"parent": 13953000,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-160x107.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-scaled-e1708974883616.jpe",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-2048x1364.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-1020x679.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-1536x1023.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-1920x1279.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-800x533.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-michonne-4_custom-f116e784398bbc218fd4bafe88b2f9681ee1b510-768x511.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1708972900,
"modified": 1708974955,
"caption": "Danai Gurira as Michonne on ‘The Walking Dead: The Ones Who Live.’",
"description": null,
"title": "Danai Gurira as Michonne on ‘The Walking Dead: The Ones Who Live.’",
"credit": "AMC",
"status": "inherit",
"altTag": "Close up of a Black woman with long dreadlocks looks ahead, frowning.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952692": {
"type": "attachments",
"id": "arts_13952692",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952692",
"found": true
},
"parent": 13952691,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-scaled-e1708544687937.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/constellation_photo_010103_wide-0d1173a8fef811df8e6413d6f13ede965df3ac0f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1708543399,
"modified": 1708544753,
"caption": "Noomi Rapace plays an astronaut on the International Space Station in new Apple TV+ series ‘Constellation.’",
"description": null,
"title": "Noomi Rapace plays an astronaut on the International Space Station in new Apple TV+ series ‘Constellation.’",
"credit": "Apple TV+",
"status": "inherit",
"altTag": "A woman peers out from inside a very large astronaut suit.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952650": {
"type": "attachments",
"id": "arts_13952650",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952650",
"found": true
},
"parent": 13952420,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9.jpg",
"width": 1176,
"height": 662
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Dolly.16x9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1708473337,
"modified": 1708473391,
"caption": "Our Lady of Dolly Parton and Saint Billy, the Boston Terrier. ",
"description": null,
"title": "Dolly.16x9",
"credit": "Courtesy of Dolly Parton",
"status": "inherit",
"altTag": "A blonde smiling woman bends down towards a bandana-wearing dog.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952523": {
"type": "attachments",
"id": "arts_13952523",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952523",
"found": true
},
"parent": 13952433,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-e1708118519184.png",
"width": 1920,
"height": 1274
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-2048x1359.png",
"width": 2048,
"mimeType": "image/png",
"height": 1359
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-1020x677.png",
"width": 1020,
"mimeType": "image/png",
"height": 677
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-1536x1019.png",
"width": 1536,
"mimeType": "image/png",
"height": 1019
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-1920x1274.png",
"width": 1920,
"mimeType": "image/png",
"height": 1274
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-800x531.png",
"width": 800,
"mimeType": "image/png",
"height": 531
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Niagara-movement-768x510.png",
"width": 768,
"mimeType": "image/png",
"height": 510
}
},
"publishDate": 1708118396,
"modified": 1708449997,
"caption": "William Monroe Trotter and W. E. B. Du Bois founded the Niagara Movement, a turn-of-the-century racial justice organization.",
"description": null,
"title": "William Monroe Trotter and W. E. B. Du Bois, founders of the Niagara Movement, a turn-of-the-century racial justice organization.",
"credit": "PBS/ WNED",
"status": "inherit",
"altTag": "Photographic portraits of two Black men in Victorian suits super-imposed before an image of the Niagara Falls.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952550": {
"type": "attachments",
"id": "arts_13952550",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952550",
"found": true
},
"parent": 13952549,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-160x114.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 114
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef.jpg",
"width": 1100,
"height": 781
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-1020x724.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 724
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-800x568.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 568
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/throuple_custom-9874d4298d1c61cd1d6366f12c6c8c9124db01ef-768x545.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 545
}
},
"publishDate": 1708445378,
"modified": 1708445804,
"caption": "Above, Denyse, left, Wilder, and Corey in the ‘Communication’ episode of ‘Couple to Throuple.’.",
"description": null,
"title": "Above, Denyse, left, Wilder, and Corey in the ‘Communication’ episode of ‘Couple to Throuple.’.",
"credit": "Paul Castillero/ Peacock",
"status": "inherit",
"altTag": "A man in brightly colored clothes stands with his arms around two women. Both women are kissing him on the cheeks.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952412": {
"type": "attachments",
"id": "arts_13952412",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952412",
"found": true
},
"parent": 13952409,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-160x104.png",
"width": 160,
"mimeType": "image/png",
"height": 104
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM.png",
"width": 1748,
"height": 1132
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-1020x661.png",
"width": 1020,
"mimeType": "image/png",
"height": 661
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-1536x995.png",
"width": 1536,
"mimeType": "image/png",
"height": 995
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-800x518.png",
"width": 800,
"mimeType": "image/png",
"height": 518
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.17.09-PM-768x497.png",
"width": 768,
"mimeType": "image/png",
"height": 497
}
},
"publishDate": 1708031886,
"modified": 1708031991,
"caption": "Jennifer Lopez in ‘This is Me… Now: A Love Story.’",
"description": null,
"title": "Jennifer Lopez in ‘This is Me… Now: A Love Story.’",
"credit": "Prime Video via AP",
"status": "inherit",
"altTag": "A beautiful middle-aged Latina lies in bed, hair tousled.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952302": {
"type": "attachments",
"id": "arts_13952302",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952302",
"found": true
},
"parent": 13952301,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM.png",
"width": 1666,
"height": 1102
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-1020x675.png",
"width": 1020,
"mimeType": "image/png",
"height": 675
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-1536x1016.png",
"width": 1536,
"mimeType": "image/png",
"height": 1016
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-800x529.png",
"width": 800,
"mimeType": "image/png",
"height": 529
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-14-at-11.06.53-AM-768x508.png",
"width": 768,
"mimeType": "image/png",
"height": 508
}
},
"publishDate": 1707937692,
"modified": 1707937804,
"caption": "Charlie Brown and Franklin in ‘Snoopy Presents: Welcome Home, Franklin.’ ",
"description": null,
"title": "Charlie Brown and Franklin in ‘Snoopy Presents: Welcome Home, Franklin.’",
"credit": "Apple TV+ via AP",
"status": "inherit",
"altTag": "An illustration of two boys, both wearing helmets, riding in a soapbox.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13954333": {
"type": "authors",
"id": "byline_arts_13954333",
"meta": {
"override": true
},
"slug": "byline_arts_13954333",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13954225": {
"type": "authors",
"id": "byline_arts_13954225",
"meta": {
"override": true
},
"slug": "byline_arts_13954225",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13953127": {
"type": "authors",
"id": "byline_arts_13953127",
"meta": {
"override": true
},
"slug": "byline_arts_13953127",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13953066": {
"type": "authors",
"id": "byline_arts_13953066",
"meta": {
"override": true
},
"slug": "byline_arts_13953066",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13953000": {
"type": "authors",
"id": "byline_arts_13953000",
"meta": {
"override": true
},
"slug": "byline_arts_13953000",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13952691": {
"type": "authors",
"id": "byline_arts_13952691",
"meta": {
"override": true
},
"slug": "byline_arts_13952691",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13952549": {
"type": "authors",
"id": "byline_arts_13952549",
"meta": {
"override": true
},
"slug": "byline_arts_13952549",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13952409": {
"type": "authors",
"id": "byline_arts_13952409",
"meta": {
"override": true
},
"slug": "byline_arts_13952409",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13952301": {
"type": "authors",
"id": "byline_arts_13952301",
"meta": {
"override": true
},
"slug": "byline_arts_13952301",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_category_tv": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"score": 12.673705
},
"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": 16
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 16
}
},
{
"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_13954333": {
"type": "posts",
"id": "arts_13954333",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954333",
"score": null,
"sort": [
1710872834000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1710872834,
"format": "standard",
"title": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
"headTitle": "Jake Gyllenhaal’s ‘Road House’ Remake Is … Surprisingly Good? | KQED",
"content": "\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13953248']“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y0ZsLudtfjI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>[aside postid='arts_13951144']“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13953601']Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 829,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1710873364,
"excerpt": "The Florida tourist board is going to love this movie.",
"headData": {
"twImgId": "",
"twTitle": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
"socialTitle": "‘Roadhouse’ Review: 2024 Remake Is a Fun and Frantic Romp %%page%% %%sep%% KQED",
"ogTitle": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
"ogImgId": "",
"twDescription": "",
"description": "The Florida tourist board is going to love this movie.",
"title": "‘Roadhouse’ Review: 2024 Remake Is a Fun and Frantic Romp | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
"datePublished": "2024-03-19T11:27:14-07:00",
"dateModified": "2024-03-19T11:36:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jake-gyllenhaals-road-house-remake-is-surprisingly-good",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953248",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\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/Y0ZsLudtfjI'\n title='//www.youtube.com/embed/Y0ZsLudtfjI'\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>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951144",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953601",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good",
"authors": [
"byline_arts_13954333"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_15246",
"arts_769",
"arts_585"
],
"featImg": "arts_13954339",
"label": "arts_140"
},
"arts_13954225": {
"type": "posts",
"id": "arts_13954225",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954225",
"score": null,
"sort": [
1710776594000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1710776594,
"format": "standard",
"title": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon",
"headTitle": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon | KQED",
"content": "\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8\u003c/p>\n\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>[aside postid='arts_13952301']The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>[aside postid='arts_13954052']Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1057,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1710776594,
"excerpt": "In ID’s new, four-part docuseries, former child star Drake Bell publicly recounts being abused by a Nickelodeon employee.",
"headData": {
"twImgId": "",
"twTitle": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon",
"socialTitle": "Nickelodeon Docuseries Talks Schneider, Child Stars and Abuse %%page%% %%sep%% KQED",
"ogTitle": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon",
"ogImgId": "",
"twDescription": "",
"description": "In ID’s new, four-part docuseries, former child star Drake Bell publicly recounts being abused by a Nickelodeon employee.",
"title": "Nickelodeon Docuseries Talks Schneider, Child Stars and Abuse | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon",
"datePublished": "2024-03-18T08:43:14-07:00",
"dateModified": "2024-03-18T08:43:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1238843676&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sat, 16 Mar 2024 14:19:47 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sat, 16 Mar 2024 14:19:47 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/03/16/1238843676/quiet-on-set-nickelodeon?ft=nprml&f=1238843676",
"nprImageAgency": "ID/Warner Bros.",
"nprStoryId": "1238843676",
"nprByline": "Eric Deggans",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 16 Mar 2024 14:19:00 -0400",
"path": "/arts/13954225/quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\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/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\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>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951126",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952301",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13954052",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\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>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954225/quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck",
"authors": [
"byline_arts_13954225"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_22025",
"arts_930",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13954226",
"label": "arts_140"
},
"arts_13954052": {
"type": "posts",
"id": "arts_13954052",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954052",
"score": null,
"sort": [
1710463431000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1710463431,
"format": "standard",
"title": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"headTitle": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination | KQED",
"content": "\u003cp>We all know the basics of President Abraham Lincoln’s assassination. In a Washington, D.C. theater 159 years ago, Lincoln was shot in the back of the head by actor John Wilkes Booth, while Lincoln was watching \u003cem>Our American Cousin\u003c/em> with his wife. As with so many major events from history the murder has, over time, merely become part of our national story — more and more devoid of emotional heft as time ticks along.\u003c/p>\n\u003cp>A new seven-part series from Apple TV+ now aims to change that, vividly taking us back to the murder, the political chaos that followed and, most importantly, the 12-day-long chase that culminated in the death of Booth and the trial of (some of) his co-conspirators. Despite a winding storyline and an overuse of time jumps, \u003cem>Manhunt\u003c/em> somehow succeeds in being consistently gripping. The series plays out like a crime thriller, only one full of people whose names we might already know.\u003c/p>\n\u003cp>[aside postid='arts_13951349']At the center of the story is Lincoln’s secretary of war, Edwin Stanton (Tobias Menzies). Stanton puts his own health and personal life at risk as he relentlessly pursues Booth (played by a convincingly petulant Anthony Boyle), while also trying to enact Lincoln’s final political wishes. We enter meetings with the likes of Frederick Douglass (Elvis Nolasco) and President Andrew Johnson (Glenn Morshower). We get to know the determined man in charge of the hunt for Booth, detective Lafayette Baker (Patton Oswald). We even see questions raised about \u003ca href=\"https://www.cnn.com/2016/07/06/health/mary-todd-lincoln-pernicious-anemia/index.html\">the mental health of Mary Todd Lincoln\u003c/a> and her ability to look after herself as a widow.\u003c/p>\n\u003cp>\u003cem>Manhunt\u003c/em> offers an engrossing education about American life during the Civil War and after the assassination. That goes for the famous people at the center of the story, and those unknowns operating on the ground around them. However, as with so many dramatizations of true stories (see also: \u003cem>The Crown\u003c/em> — coincidentally also starring Menzies), \u003cem>Manhunt\u003c/em> intermingles true events with some flagrant embellishments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFT-b8eKdSo&t=7s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One particularly troubling scene has Stanton burning pages from Booth’s diary. What happened to the diary’s missing pages has long been the subject of \u003ca href=\"https://en.wikipedia.org/wiki/Otto_Eisenschiml\">conjecture and conspiracy theory\u003c/a>. \u003cem>Manhunt\u003c/em> makes the bold choice to lay the responsibility at Stanton’s feet even though, in reality, the diary changed hands several times and no definitive answer has ever emerged about what really happened to those pages.\u003c/p>\n\u003cp>[aside postid='arts_13952433']Where \u003cem>Manhunt\u003c/em> truly takes on a life of its own is in its depiction of Mary Simms (Lovie Simone). It is true that the real-life Simms and her brother were enslaved by Samuel Mudd — the doctor who briefly housed Booth and treated the assassin’s broken leg. It is also true that Simms, in an extraordinarily brave move, testified against Mudd at his much-publicized trial.\u003c/p>\n\u003cp>Simms is central to some of the show’s most enthralling storylines. We see her kidnapped as a child and enslaved by Mudd. At the end of the war, she escapes Mudd’s home and starts teaching local Black children how to read and write. After the land granted to her at the end of the Civil War is reclaimed by Johnson’s government, she is forced to return to Mudd’s house. Crucially, in the show, we also see her directly interacting with Booth while he’s on the run, and with Stanton before and after the trial.\u003c/p>\n\u003cp>Disappointingly, there is no evidence that any of this actually happened.\u003c/p>\n\u003cfigure id=\"attachment_13954156\" class=\"wp-caption aligncenter\" style=\"max-width: 1606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png\" alt=\"A Black woman wearing a bonnet and carrying a basket walks through the woods with a Black man who is carrying a sack and wearing period clothing from the 1860s.\" width=\"1606\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1536x974.png 1536w\" sizes=\"(max-width: 1606px) 100vw, 1606px\">\u003cfigcaption class=\"wp-caption-text\">Lovie Simone as Mary Simms and Antonio J. Bell as Milo Simms in ‘Manhunt.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as I can tell from the scant documentation that exists around Simms, in reality she was enslaved by Mudd for four years and escaped from his home in 1864, before Booth was ever on the property. During his trial, Simms testified that Mudd was a Southern sympathizer, protected Confederate soldiers at his home and was friends with John Surratt (another man accused of being a Booth co-conspirator). Simms also testified that Mudd said “he would have killed” Lincoln, given the opportunity. That’s about all we know about her for sure.\u003c/p>\n\u003cp>[aside postid='arts_13881675']So enamored was I with Simms’ story (as told by \u003cem>Manhunt\u003c/em>) that this entire review was originally going to center on introducing this little-known but important historical figure. Instead, Simms’ storyline is a reflection of the well-intentioned ways that \u003cem>Manhunt\u003c/em> can be misleading. People who worked on the show have since confirmed that Simms “\u003ca href=\"https://apnews.com/article/manhunt-abraham-lincoln-assassination-john-wilkes-booth-8611ad4c3c1029365ab6243cfcfab725\">was written as a composite\u003c/a>” of multiple people involved in the conviction of Booth’s co-conspirators. The version of Simms we see in the show was intended “to bring some of these heroes to light.”\u003c/p>\n\u003cp>Given how little documentation the lives of individual enslaved people inspired at the time, embellishing Simms’ backstory in order to bring her role in the trial to the forefront is an understandable choice. That being said, audiences would benefit from a note about \u003cem>Manhunt\u003c/em>’s use of artistic license at the top of each episode.\u003c/p>\n\u003cp>As an overview of the events and politics of the time, \u003cem>Manhunt\u003c/em> is undoubtedly useful. That a story with so many moving, conflicting, complex parts succeeds in being relatively easy to follow makes it something of a triumph. But it’s also important, in the midst of watching this entertaining, extremely convincing rendition of reality, to not take its word as gospel. Take it instead as a conduit for further investigation. You might be surprised by what you find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manhunt’ airs on Apple TV+ starting from March 15, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 974,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1710491598,
"excerpt": "Apple TV+’s new seven-episode series turns Abraham Lincoln’s assassination into an enthralling crime thriller. ",
"headData": {
"twImgId": "",
"twTitle": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"socialTitle": "‘Manhunt’ Review: Apple TV+ Series Is Gripping But Not All True%%page%% %%sep%% KQED",
"ogTitle": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"ogImgId": "",
"twDescription": "",
"description": "Apple TV+’s new seven-episode series turns Abraham Lincoln’s assassination into an enthralling crime thriller. ",
"title": "‘Manhunt’ Review: Apple TV+ Series Is Gripping But Not All True | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"datePublished": "2024-03-14T17:43:51-07:00",
"dateModified": "2024-03-15T01:33:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know the basics of President Abraham Lincoln’s assassination. In a Washington, D.C. theater 159 years ago, Lincoln was shot in the back of the head by actor John Wilkes Booth, while Lincoln was watching \u003cem>Our American Cousin\u003c/em> with his wife. As with so many major events from history the murder has, over time, merely become part of our national story — more and more devoid of emotional heft as time ticks along.\u003c/p>\n\u003cp>A new seven-part series from Apple TV+ now aims to change that, vividly taking us back to the murder, the political chaos that followed and, most importantly, the 12-day-long chase that culminated in the death of Booth and the trial of (some of) his co-conspirators. Despite a winding storyline and an overuse of time jumps, \u003cem>Manhunt\u003c/em> somehow succeeds in being consistently gripping. The series plays out like a crime thriller, only one full of people whose names we might already know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the story is Lincoln’s secretary of war, Edwin Stanton (Tobias Menzies). Stanton puts his own health and personal life at risk as he relentlessly pursues Booth (played by a convincingly petulant Anthony Boyle), while also trying to enact Lincoln’s final political wishes. We enter meetings with the likes of Frederick Douglass (Elvis Nolasco) and President Andrew Johnson (Glenn Morshower). We get to know the determined man in charge of the hunt for Booth, detective Lafayette Baker (Patton Oswald). We even see questions raised about \u003ca href=\"https://www.cnn.com/2016/07/06/health/mary-todd-lincoln-pernicious-anemia/index.html\">the mental health of Mary Todd Lincoln\u003c/a> and her ability to look after herself as a widow.\u003c/p>\n\u003cp>\u003cem>Manhunt\u003c/em> offers an engrossing education about American life during the Civil War and after the assassination. That goes for the famous people at the center of the story, and those unknowns operating on the ground around them. However, as with so many dramatizations of true stories (see also: \u003cem>The Crown\u003c/em> — coincidentally also starring Menzies), \u003cem>Manhunt\u003c/em> intermingles true events with some flagrant embellishments.\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/VFT-b8eKdSo'\n title='//www.youtube.com/embed/VFT-b8eKdSo'\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>One particularly troubling scene has Stanton burning pages from Booth’s diary. What happened to the diary’s missing pages has long been the subject of \u003ca href=\"https://en.wikipedia.org/wiki/Otto_Eisenschiml\">conjecture and conspiracy theory\u003c/a>. \u003cem>Manhunt\u003c/em> makes the bold choice to lay the responsibility at Stanton’s feet even though, in reality, the diary changed hands several times and no definitive answer has ever emerged about what really happened to those pages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952433",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>Manhunt\u003c/em> truly takes on a life of its own is in its depiction of Mary Simms (Lovie Simone). It is true that the real-life Simms and her brother were enslaved by Samuel Mudd — the doctor who briefly housed Booth and treated the assassin’s broken leg. It is also true that Simms, in an extraordinarily brave move, testified against Mudd at his much-publicized trial.\u003c/p>\n\u003cp>Simms is central to some of the show’s most enthralling storylines. We see her kidnapped as a child and enslaved by Mudd. At the end of the war, she escapes Mudd’s home and starts teaching local Black children how to read and write. After the land granted to her at the end of the Civil War is reclaimed by Johnson’s government, she is forced to return to Mudd’s house. Crucially, in the show, we also see her directly interacting with Booth while he’s on the run, and with Stanton before and after the trial.\u003c/p>\n\u003cp>Disappointingly, there is no evidence that any of this actually happened.\u003c/p>\n\u003cfigure id=\"attachment_13954156\" class=\"wp-caption aligncenter\" style=\"max-width: 1606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png\" alt=\"A Black woman wearing a bonnet and carrying a basket walks through the woods with a Black man who is carrying a sack and wearing period clothing from the 1860s.\" width=\"1606\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1536x974.png 1536w\" sizes=\"(max-width: 1606px) 100vw, 1606px\">\u003cfigcaption class=\"wp-caption-text\">Lovie Simone as Mary Simms and Antonio J. Bell as Milo Simms in ‘Manhunt.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as I can tell from the scant documentation that exists around Simms, in reality she was enslaved by Mudd for four years and escaped from his home in 1864, before Booth was ever on the property. During his trial, Simms testified that Mudd was a Southern sympathizer, protected Confederate soldiers at his home and was friends with John Surratt (another man accused of being a Booth co-conspirator). Simms also testified that Mudd said “he would have killed” Lincoln, given the opportunity. That’s about all we know about her for sure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13881675",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>So enamored was I with Simms’ story (as told by \u003cem>Manhunt\u003c/em>) that this entire review was originally going to center on introducing this little-known but important historical figure. Instead, Simms’ storyline is a reflection of the well-intentioned ways that \u003cem>Manhunt\u003c/em> can be misleading. People who worked on the show have since confirmed that Simms “\u003ca href=\"https://apnews.com/article/manhunt-abraham-lincoln-assassination-john-wilkes-booth-8611ad4c3c1029365ab6243cfcfab725\">was written as a composite\u003c/a>” of multiple people involved in the conviction of Booth’s co-conspirators. The version of Simms we see in the show was intended “to bring some of these heroes to light.”\u003c/p>\n\u003cp>Given how little documentation the lives of individual enslaved people inspired at the time, embellishing Simms’ backstory in order to bring her role in the trial to the forefront is an understandable choice. That being said, audiences would benefit from a note about \u003cem>Manhunt\u003c/em>’s use of artistic license at the top of each episode.\u003c/p>\n\u003cp>As an overview of the events and politics of the time, \u003cem>Manhunt\u003c/em> is undoubtedly useful. That a story with so many moving, conflicting, complex parts succeeds in being relatively easy to follow makes it something of a triumph. But it’s also important, in the midst of watching this entertaining, extremely convincing rendition of reality, to not take its word as gospel. Take it instead as a conduit for further investigation. You might be surprised by what you find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manhunt’ airs on Apple TV+ starting from March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_22015",
"arts_769",
"arts_585"
],
"featImg": "arts_13954157",
"label": "arts_140"
},
"arts_13953127": {
"type": "posts",
"id": "arts_13953127",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13953127",
"score": null,
"sort": [
1709146614000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1709146614,
"format": "standard",
"title": "In the Mood for a Sweet, Off-Beat Murder Mystery? ‘Elsbeth’ Is on the Case",
"headTitle": "In the Mood for a Sweet, Off-Beat Murder Mystery? ‘Elsbeth’ Is on the Case | KQED",
"content": "\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1J-fCrWcF14\u003c/p>\n\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. For the premiere episode of \u003cem>Elsbeth \u003c/em>— no spoiler alerts here, because the murder is shown in the opening moments — Stephen Moyer from \u003ca href=\"https://www.kqed.org/arts/96643/summer_is_coming_true_blood_season_5\">\u003cem>True Blood\u003c/em>\u003c/a> is the special guest star. He plays an acting teacher and director who has found a way to dispose of his much younger former student and lover, by making it look like suicide. When Elsbeth arrives at the victim’s apartment, she ignores the dead body and heads straight for the bathroom — where she pokes around until a detective notices her and objects.\u003c/p>\n\u003cp>The police aren’t sure what to make of her, of course. \u003ca href=\"https://www.npr.org/sections/ablogsupreme/2011/07/04/137607222/wendell-pierce-everyones-favorite-fake-trombone-player\">Wendell Pierce\u003c/a>, that wonderful actor from \u003ca href=\"https://www.npr.org/2022/08/05/1115935761/20-years-later-the-wire-still-enthralls\">\u003cem>The Wire\u003c/em>\u003c/a>, plays Capt. Wagner, who is exasperated one moment, impressed the next — which is how everyone reacted to Elsbeth way back on \u003cem>The Good Wife.\u003c/em> Carra Patterson plays Kaya Blanke, an officer who soon becomes a friend as well as a colleague.\u003c/p>\n\u003cp>[aside postid='arts_13952420']But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 689,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1709146614,
"excerpt": "Carrie Preston revives her eccentric ‘Good Wife’ character in a new CBS series full of fun guest stars and clever mysteries.",
"headData": {
"twImgId": "",
"twTitle": "In the Mood for a Sweet, Off-Beat Murder Mystery? ‘Elsbeth’ Is on the Case",
"socialTitle": "‘Elsbeth’ Review: An Old Character Shines in New CBS Show %%page%% %%sep%% KQED",
"ogTitle": "In the Mood for a Sweet, Off-Beat Murder Mystery? ‘Elsbeth’ Is on the Case",
"ogImgId": "",
"twDescription": "",
"description": "Carrie Preston revives her eccentric ‘Good Wife’ character in a new CBS series full of fun guest stars and clever mysteries.",
"title": "‘Elsbeth’ Review: An Old Character Shines in New CBS Show | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In the Mood for a Sweet, Off-Beat Murder Mystery? ‘Elsbeth’ Is on the Case",
"datePublished": "2024-02-28T10:56:54-08:00",
"dateModified": "2024-02-28T10:56:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "elsbeth-cbs-review-good-wife-murder-mystery",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1234210203&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 28 Feb 2024 12:47:02 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 28 Feb 2024 12:47:02 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/28/1234210203/elsbeth-review-carrie-preston?ft=nprml&f=1234210203",
"nprImageAgency": "CBS",
"nprStoryId": "1234210203",
"nprByline": "David Bianculli",
"sticky": false,
"nprImageCredit": "Elizabeth Fisher",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 28 Feb 2024 12:47:00 -0500",
"path": "/arts/13953127/elsbeth-cbs-review-good-wife-murder-mystery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953000",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\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/1J-fCrWcF14'\n title='//www.youtube.com/embed/1J-fCrWcF14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. For the premiere episode of \u003cem>Elsbeth \u003c/em>— no spoiler alerts here, because the murder is shown in the opening moments — Stephen Moyer from \u003ca href=\"https://www.kqed.org/arts/96643/summer_is_coming_true_blood_season_5\">\u003cem>True Blood\u003c/em>\u003c/a> is the special guest star. He plays an acting teacher and director who has found a way to dispose of his much younger former student and lover, by making it look like suicide. When Elsbeth arrives at the victim’s apartment, she ignores the dead body and heads straight for the bathroom — where she pokes around until a detective notices her and objects.\u003c/p>\n\u003cp>The police aren’t sure what to make of her, of course. \u003ca href=\"https://www.npr.org/sections/ablogsupreme/2011/07/04/137607222/wendell-pierce-everyones-favorite-fake-trombone-player\">Wendell Pierce\u003c/a>, that wonderful actor from \u003ca href=\"https://www.npr.org/2022/08/05/1115935761/20-years-later-the-wire-still-enthralls\">\u003cem>The Wire\u003c/em>\u003c/a>, plays Capt. Wagner, who is exasperated one moment, impressed the next — which is how everyone reacted to Elsbeth way back on \u003cem>The Good Wife.\u003c/em> Carra Patterson plays Kaya Blanke, an officer who soon becomes a friend as well as a colleague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952420",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13953127/elsbeth-cbs-review-good-wife-murder-mystery",
"authors": [
"byline_arts_13953127"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8481",
"arts_10157",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13953128",
"label": "arts_137"
},
"arts_13953066": {
"type": "posts",
"id": "arts_13953066",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13953066",
"score": null,
"sort": [
1709060752000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1709060752,
"format": "standard",
"title": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All",
"headTitle": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All | KQED",
"content": "\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk\u003c/p>\n\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>[aside postid='arts_13952691']I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 638,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1709060752,
"excerpt": "FX’s remake is even more thought-provoking than the 1980 ‘Shōgun’ miniseries about an English sea pilot’s adventures in Japan. ",
"headData": {
"twImgId": "",
"twTitle": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All",
"socialTitle": "‘Shōgun’ Review: Sex, Violence and Power Grabs Galore %%page%% %%sep%% KQED",
"ogTitle": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All",
"ogImgId": "",
"twDescription": "",
"description": "FX’s remake is even more thought-provoking than the 1980 ‘Shōgun’ miniseries about an English sea pilot’s adventures in Japan. ",
"title": "‘Shōgun’ Review: Sex, Violence and Power Grabs Galore | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All",
"datePublished": "2024-02-27T11:05:52-08:00",
"dateModified": "2024-02-27T11:05:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-shogun-series-review-fx-james-clavell",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1233992898&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 27 Feb 2024 13:17:36 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 27 Feb 2024 13:17:50 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/27/1233992898/shogun-review-fx?ft=nprml&f=1233992898",
"nprAudio": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240227_fa_b91eced5-937d-4e91-a8fb-ed0d9c8e8feb.mp3?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898",
"nprImageAgency": "FX",
"nprAudioM3u": "http://api.npr.org/m3u/11234232746-cbebab.m3u?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898",
"nprStoryId": "1233992898",
"nprByline": "David Bianculli",
"sticky": false,
"nprImageCredit": "Katie Yu",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 27 Feb 2024 13:24:00 -0500",
"path": "/arts/13953066/new-shogun-series-review-fx-james-clavell",
"audioUrl": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240227_fa_b91eced5-937d-4e91-a8fb-ed0d9c8e8feb.mp3?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953000",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\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>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\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/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952691",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13953066/new-shogun-series-review-fx-james-clavell",
"authors": [
"byline_arts_13953066"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8237",
"arts_2627",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13953067",
"label": "arts_140"
},
"arts_13953000": {
"type": "posts",
"id": "arts_13953000",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13953000",
"score": null,
"sort": [
1708975752000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1708975752,
"format": "standard",
"title": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’",
"headTitle": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’ | KQED",
"content": "\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cN6_lMcYFKY\u003c/p>\n\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>[aside postid='pop_97900']“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_104118']Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>[aside postid='pop_102007']“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>[aside postid='arts_13952691']“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1721,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1708976776,
"excerpt": "Danai Gurira and Andrew Lincoln are back as Michonne and Rick Grimes. But will a new audience still show up?",
"headData": {
"twImgId": "",
"twTitle": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’",
"socialTitle": "‘The Ones Who Live’ Is a ’Walking Dead’ Spin Off Worth Watching %%page%% %%sep%% KQED",
"ogTitle": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’",
"ogImgId": "",
"twDescription": "",
"description": "Danai Gurira and Andrew Lincoln are back as Michonne and Rick Grimes. But will a new audience still show up?",
"title": "‘The Ones Who Live’ Is a ’Walking Dead’ Spin Off Worth Watching | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’",
"datePublished": "2024-02-26T11:29:12-08:00",
"dateModified": "2024-02-26T11:46:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "walking-dead-the-ones-who-live-amc-richonne-lincoln-gurira",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1233827237&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 26 Feb 2024 11:56:50 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 26 Feb 2024 12:00:32 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/26/1233827237/the-walking-dead-the-ones-who-live-review?ft=nprml&f=1233827237",
"nprAudio": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/wesat/2024/02/20240224_wesat_review_-_the_ones_who_live.mp3?orgId=1&topicId=1163&d=228&story=1233827237&ft=nprml&f=1233827237",
"nprImageAgency": "AMC",
"nprAudioM3u": "http://api.npr.org/m3u/11233925716-22c29d.m3u?orgId=1&topicId=1163&d=228&story=1233827237&ft=nprml&f=1233827237",
"nprStoryId": "1233827237",
"nprByline": "Eric Deggans",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 26 Feb 2024 12:00:00 -0500",
"path": "/arts/13953000/walking-dead-the-ones-who-live-amc-richonne-lincoln-gurira",
"audioUrl": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/wesat/2024/02/20240224_wesat_review_-_the_ones_who_live.mp3?orgId=1&topicId=1163&d=228&story=1233827237&ft=nprml&f=1233827237",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\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/cN6_lMcYFKY'\n title='//www.youtube.com/embed/cN6_lMcYFKY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\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>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_97900",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_104118",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_102007",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952691",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\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>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13953000/walking-dead-the-ones-who-live-amc-richonne-lincoln-gurira",
"authors": [
"byline_arts_13953000"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_21977",
"arts_3797",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13953001",
"label": "arts_137"
},
"arts_13952691": {
"type": "posts",
"id": "arts_13952691",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952691",
"score": null,
"sort": [
1708547758000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708547758,
"format": "standard",
"title": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth",
"headTitle": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth | KQED",
"content": "\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>[aside postid='arts_13940132']In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4dAaLbsQSzI\u003c/p>\n\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>[aside postid='arts_13952684']It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 648,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1708545167,
"excerpt": "The new Apple TV+ series is a haunting story that, at its center, is about the love between a mother and a daughter.",
"headData": {
"twImgId": "",
"twTitle": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth",
"socialTitle": "New Apple TV+ Show ‘Constellation’ is Surprisingly Moving Sci-Fi %%page%% %%sep%% KQED",
"ogTitle": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth",
"ogImgId": "",
"twDescription": "",
"description": "The new Apple TV+ series is a haunting story that, at its center, is about the love between a mother and a daughter.",
"title": "New Apple TV+ Show ‘Constellation’ is Surprisingly Moving Sci-Fi | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth",
"datePublished": "2024-02-21T12:35:58-08:00",
"dateModified": "2024-02-21T11:52:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-constellation-disaster-follows-an-astronaut-back-to-earth",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1232664419&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 21 Feb 2024 13:40:32 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 21 Feb 2024 13:43:45 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/21/1232664419/constellation-review-noomi-rapace?ft=nprml&f=1232664419",
"nprAudio": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240221_fa_1127ff85-aa85-4914-8e12-62bc30aa19d3.mp3?orgId=427869011&topicId=1163&d=483&p=13&story=1232664419&ft=nprml&f=1232664419",
"nprImageAgency": "Apple TV+",
"nprAudioM3u": "http://api.npr.org/m3u/11232945087-b926a1.m3u?orgId=427869011&topicId=1163&d=483&p=13&story=1232664419&ft=nprml&f=1232664419",
"nprStoryId": "1232664419",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 21 Feb 2024 13:47:00 -0500",
"path": "/arts/13952691/in-constellation-disaster-follows-an-astronaut-back-to-earth",
"audioUrl": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240221_fa_1127ff85-aa85-4914-8e12-62bc30aa19d3.mp3?orgId=427869011&topicId=1163&d=483&p=13&story=1232664419&ft=nprml&f=1232664419",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940132",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\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>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\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/4dAaLbsQSzI'\n title='//www.youtube.com/embed/4dAaLbsQSzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952684",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952691/in-constellation-disaster-follows-an-astronaut-back-to-earth",
"authors": [
"byline_arts_13952691"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_769",
"arts_3797",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952692",
"label": "arts_140"
},
"arts_13952420": {
"type": "posts",
"id": "arts_13952420",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952420",
"score": null,
"sort": [
1708474651000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708474651,
"format": "standard",
"title": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"headTitle": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System | KQED",
"content": "\u003cp>Do you like dogs? And \u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton\u003c/a>? And watching things that make you feel like your brain might fall out of your ear? Has CBS got a treat for you!\u003c/p>\n\u003cp>\u003cem>Dolly Parton’s Pet Gala \u003c/em>combines dog fashion shows, celebrity cameos, country music, active duty servicemembers, dog puns (“Ruff Lauren,” anyone?) and an uncomfortable amount of canned laughter. It is awkward and unintentionally hilarious and formulaic in an incredibly old-fashioned way. It also contains a segment where Jessica Simpson talks — entirely out of left field — about how large her breasts are. But I’m getting ahead of myself!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pMpeG0u6fQE&t=15s\u003c/p>\n\u003cp>In order to fully convey the chaos that is this television production, I have broken down Dolly Parton’s rhinestone-encrusted fever dream into manageable segments. Try and stay with me as this spirals into ever-more-surreal territory.\u003c/p>\n\u003cp>Here is everything that happens in \u003cem>Dolly Parton’s Pet Gala\u003c/em>, premiering on CBS this week.\u003c/p>\n\u003ch2>Dog fashion shows\u003c/h2>\n\u003cp>There are five dog fashion shows peppered throughout this 90-minute special, with surprisingly few references to Dolly’s pet fashion line, \u003ca href=\"https://doggyparton.com/\">Doggy Parton\u003c/a>. (Not all of the pet outfits on display tonight are even in the line!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each fashion show is narrated by Jane Lynch (\u003cem>Best In Show\u003c/em>), who introduces dogs with names like Lucille Ball, La La, Lyra and — my personal favorite — Lieutenant Dan. (And yes, in case you were wondering, that dog \u003cem>is\u003c/em> missing two legs.) Lynch offers commentary like “Here’s Lemon, in a nod to heavy metal headbangers everywhere,” and starts the “Patriotic Pups”-themed runway by yelling “Are you ready to party like it’s 1776?” (She finishes it by shouting “Dog bless America!” because of course she does.)\u003c/p>\n\u003cp>This is, for some reason, genuinely compelling television.\u003c/p>\n\u003cp>[aside postid='pop_107990']One runway is soundtracked by KC of KC and the Sunshine Band performing “Boogie Shoes.” Another — specifically, the rock ‘n’ roll-themed runway — is soundtracked by teen guitar wizard \u003ca href=\"https://www.gracebowers.com/\">Grace Bowers\u003c/a>. Kelly Osborne wanders on a couple of times. Carson Kressley also shows up to co-commentate with Lynch and, in a subtle-not-subtle moment, tries to Jedi mind-trick middle America by staring directly into the camera and referring to “a beautiful trans …… formation.” All the while, the kid from \u003cem>Young Sheldon\u003c/em> sits in the front row chewing the scenery like a starving Rottweiler that’s just found a severed leg.\u003c/p>\n\u003cp>I can’t not look at all of it.\u003c/p>\n\u003cp>Dolly sits in for the final runway — a tribute to her most iconic fashion moments. All of a sudden, the doggy outfits come complete with fake boobs, blond wigs and false arms. Outfits from this segment include Dolly’s\u003ca href=\"https://www.youtube.com/watch?v=c1zJzr-kWsI\"> coat of many colors\u003c/a>, some of her festival get-ups and her \u003cem>9 to 5\u003c/em> lasso outfit. While watching this, I wrote in my notepad: “This runway is my new sleep paralysis demon.” I really, really mean that.\u003c/p>\n\u003cfigure id=\"attachment_13952795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/glastonbury-e1708630821301.png\" alt=\"A dog in a costume stands on a runway.\" width=\"1920\" height=\"1223\">\u003cfigcaption class=\"wp-caption-text\">A dog wearing a wig. And also an outfit Dolly Parton wore when she played the Glastonbury Festival in 2014. Just go with it. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Country music: Live!\u003c/h2>\n\u003cp>Dolly opens the show with an absolutely preposterous rendition of “Puppy Love” that involves her barking and howling while cameras zoom in on the faces of happy dogs sitting in the audience. It might be the most wonderfully surreal television I have ever seen, with \u003cem>Twin Peaks\u003c/em> as the only serious contender.\u003c/p>\n\u003cp>[aside postid='arts_13889581']A country gentleman named Chris Janson shows up next, singing a song that references river banks, cold beers, trucks and Bass Pro Shops. I have never in my life had a bad time in a Bass Pro Shop, so I feel immediate kinship with Mr. Janson. The spell is broken moments later, however, when he performs “Hound Dog” while a literal Bloodhound wearing a tiny top hat lies behind him on an amp, howling. This is a step too far, even for me. (I think it was the top hat that did it.)\u003c/p>\n\u003cfigure id=\"attachment_13952798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/hound-dog-e1708630968986.png\" alt=\"A man in a cowboy hat and black country shirt sits at a top hat-wearing Blood Hound.\" width=\"1920\" height=\"1125\">\u003cfigcaption class=\"wp-caption-text\">It’s the top hat, right? The top hat is offensive on some level. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carly Pierce, wearing an incomprehensibly constructed dress, shows up for duets of “9 to 5” and “Jolene” with Dolly. This is, of course, a seamless way to introduce a Dollywood reference into the proceedings, as Pierce apparently started performing there at age 16. (\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">It’s not a Dolly Parton TV special if it doesn’t include flagrant Dollywood promotion\u003c/a>!)\u003c/p>\n\u003cp>Joy Oladokun’s straightforward performance of “\u003ca href=\"https://www.youtube.com/watch?v=Ea9_egtJYMg\">If You’ve Got a Problem\u003c/a>” is gorgeous, but Lainey Wilson and Dolly performing “I Will Always Love You” is unequivocally the song of the night. Absolute belter, 10 out of 10. No notes if you ignore the outfits, both of which defy description.\u003c/p>\n\u003ch2>Random celebrities, doing the least\u003c/h2>\n\u003cp>Here are some famous people that show up in pre-recorded-at-home videos to talk about and/or to their dogs: Margaret Cho, Neil Patrick Harris, Drew Barrymore, Kristen Bell and Kristin Chenoweth.\u003c/p>\n\u003cp>[aside postid='arts_13922004']Here are some famous-ish people who show up in the studio to awkwardly introduce a segment, even though \u003cem>Entertainment Tonight\u003c/em>‘s Rachel Smith is doing most of the hosting: Kristin Cavallari, a musical duo named Tigirlily Gold, and Billy Ray Cyrus and his Australian wife. (Who is named Firerose, by the way. FIREROSE.)\u003c/p>\n\u003cp>There is even — and I was thoroughly taken aback when this started — an “In Memoriam” section featuring recently deceased dog-lovers. These include \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">Angus Cloud\u003c/a>, Tony Bennett, Tina Turner, Sinead O’Connor, tWitch (from \u003cem>The Ellen DeGeneres Show\u003c/em>) and many more. This is kind of sweet, but also fairly uncomfortable within the context.\u003c/p>\n\u003ch2>Dogs, doing the most\u003c/h2>\n\u003cp>Dogs that are service dogs. Dogs that are in the military. Dogs that do sports. Movie stunt dogs. Social media dogs. They all get a spotlight of one sort or another during \u003cem>Pet Gala\u003c/em>. At one point, Smith introduces a dog named Noodles like she’s just been asked out by Harry Styles, and I remain thoroughly confused hours after watching.\u003c/p>\n\u003cp>Oh, and Dolly reads a bedtime story to a room full of dogs too, but that’s to be expected, I suppose.\u003c/p>\n\u003cfigure id=\"attachment_13952799\" class=\"wp-caption aligncenter\" style=\"max-width: 2508px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png\" alt=\"A woman in a rocking chair reads from a book. Scattered around her are dogs lying on blankets. A dalmatian approaches her.\" width=\"2508\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png 2508w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1020x600.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-2048x1205.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1920x1130.png 1920w\" sizes=\"(max-width: 2508px) 100vw, 2508px\">\u003cfigcaption class=\"wp-caption-text\">This is one of the more normal things that happens in ‘Dolly Parton’s Pet Gala.’ Just FYI. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takeaways\u003c/h2>\n\u003col>\n\u003cli>That this made it onto network television in 2024 is astounding.\u003c/li>\n\u003cli>Famous people will do literally anything for Dolly Parton.\u003c/li>\n\u003cli>This might be one of the greatest things I have ever seen on TV.\u003c/li>\n\u003c/ol>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Pet Gala’ airs on CBS and streams on Paramount+ on Wednesday, Feb. 21 at 11 p.m. On demand viewing will also be available for Paramount+ Essential and Paramount+ with Showtime subscribers on Feb. 22.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1193,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1708631964,
"excerpt": "Dogs in dresses! Canned laughter! Country music! Celebrities being awkward! You can't not watch it.",
"headData": {
"twImgId": "",
"twTitle": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"socialTitle": "‘Dolly Parton’s Pet Gala’ TV Review: Surreal, Wholesome Hilarity %%page%% %%sep%% KQED",
"ogTitle": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"ogImgId": "",
"twDescription": "",
"description": "Dogs in dresses! Canned laughter! Country music! Celebrities being awkward! You can't not watch it.",
"title": "‘Dolly Parton’s Pet Gala’ TV Review: Surreal, Wholesome Hilarity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dolly Parton’s Pet Gala’ Is Like Taking Drugs That Never Leave Your System",
"datePublished": "2024-02-20T16:17:31-08:00",
"dateModified": "2024-02-22T11:59:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dolly-doggy-parton-pet-gala-review-cbs-tv-special-puppy-love",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13952420/dolly-doggy-parton-pet-gala-review-cbs-tv-special-puppy-love",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you like dogs? And \u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton\u003c/a>? And watching things that make you feel like your brain might fall out of your ear? Has CBS got a treat for you!\u003c/p>\n\u003cp>\u003cem>Dolly Parton’s Pet Gala \u003c/em>combines dog fashion shows, celebrity cameos, country music, active duty servicemembers, dog puns (“Ruff Lauren,” anyone?) and an uncomfortable amount of canned laughter. It is awkward and unintentionally hilarious and formulaic in an incredibly old-fashioned way. It also contains a segment where Jessica Simpson talks — entirely out of left field — about how large her breasts are. But I’m getting ahead of myself!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pMpeG0u6fQE'\n title='//www.youtube.com/embed/pMpeG0u6fQE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In order to fully convey the chaos that is this television production, I have broken down Dolly Parton’s rhinestone-encrusted fever dream into manageable segments. Try and stay with me as this spirals into ever-more-surreal territory.\u003c/p>\n\u003cp>Here is everything that happens in \u003cem>Dolly Parton’s Pet Gala\u003c/em>, premiering on CBS this week.\u003c/p>\n\u003ch2>Dog fashion shows\u003c/h2>\n\u003cp>There are five dog fashion shows peppered throughout this 90-minute special, with surprisingly few references to Dolly’s pet fashion line, \u003ca href=\"https://doggyparton.com/\">Doggy Parton\u003c/a>. (Not all of the pet outfits on display tonight are even in the line!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each fashion show is narrated by Jane Lynch (\u003cem>Best In Show\u003c/em>), who introduces dogs with names like Lucille Ball, La La, Lyra and — my personal favorite — Lieutenant Dan. (And yes, in case you were wondering, that dog \u003cem>is\u003c/em> missing two legs.) Lynch offers commentary like “Here’s Lemon, in a nod to heavy metal headbangers everywhere,” and starts the “Patriotic Pups”-themed runway by yelling “Are you ready to party like it’s 1776?” (She finishes it by shouting “Dog bless America!” because of course she does.)\u003c/p>\n\u003cp>This is, for some reason, genuinely compelling television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_107990",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>One runway is soundtracked by KC of KC and the Sunshine Band performing “Boogie Shoes.” Another — specifically, the rock ‘n’ roll-themed runway — is soundtracked by teen guitar wizard \u003ca href=\"https://www.gracebowers.com/\">Grace Bowers\u003c/a>. Kelly Osborne wanders on a couple of times. Carson Kressley also shows up to co-commentate with Lynch and, in a subtle-not-subtle moment, tries to Jedi mind-trick middle America by staring directly into the camera and referring to “a beautiful trans …… formation.” All the while, the kid from \u003cem>Young Sheldon\u003c/em> sits in the front row chewing the scenery like a starving Rottweiler that’s just found a severed leg.\u003c/p>\n\u003cp>I can’t not look at all of it.\u003c/p>\n\u003cp>Dolly sits in for the final runway — a tribute to her most iconic fashion moments. All of a sudden, the doggy outfits come complete with fake boobs, blond wigs and false arms. Outfits from this segment include Dolly’s\u003ca href=\"https://www.youtube.com/watch?v=c1zJzr-kWsI\"> coat of many colors\u003c/a>, some of her festival get-ups and her \u003cem>9 to 5\u003c/em> lasso outfit. While watching this, I wrote in my notepad: “This runway is my new sleep paralysis demon.” I really, really mean that.\u003c/p>\n\u003cfigure id=\"attachment_13952795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/glastonbury-e1708630821301.png\" alt=\"A dog in a costume stands on a runway.\" width=\"1920\" height=\"1223\">\u003cfigcaption class=\"wp-caption-text\">A dog wearing a wig. And also an outfit Dolly Parton wore when she played the Glastonbury Festival in 2014. Just go with it. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Country music: Live!\u003c/h2>\n\u003cp>Dolly opens the show with an absolutely preposterous rendition of “Puppy Love” that involves her barking and howling while cameras zoom in on the faces of happy dogs sitting in the audience. It might be the most wonderfully surreal television I have ever seen, with \u003cem>Twin Peaks\u003c/em> as the only serious contender.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889581",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A country gentleman named Chris Janson shows up next, singing a song that references river banks, cold beers, trucks and Bass Pro Shops. I have never in my life had a bad time in a Bass Pro Shop, so I feel immediate kinship with Mr. Janson. The spell is broken moments later, however, when he performs “Hound Dog” while a literal Bloodhound wearing a tiny top hat lies behind him on an amp, howling. This is a step too far, even for me. (I think it was the top hat that did it.)\u003c/p>\n\u003cfigure id=\"attachment_13952798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/hound-dog-e1708630968986.png\" alt=\"A man in a cowboy hat and black country shirt sits at a top hat-wearing Blood Hound.\" width=\"1920\" height=\"1125\">\u003cfigcaption class=\"wp-caption-text\">It’s the top hat, right? The top hat is offensive on some level. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carly Pierce, wearing an incomprehensibly constructed dress, shows up for duets of “9 to 5” and “Jolene” with Dolly. This is, of course, a seamless way to introduce a Dollywood reference into the proceedings, as Pierce apparently started performing there at age 16. (\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">It’s not a Dolly Parton TV special if it doesn’t include flagrant Dollywood promotion\u003c/a>!)\u003c/p>\n\u003cp>Joy Oladokun’s straightforward performance of “\u003ca href=\"https://www.youtube.com/watch?v=Ea9_egtJYMg\">If You’ve Got a Problem\u003c/a>” is gorgeous, but Lainey Wilson and Dolly performing “I Will Always Love You” is unequivocally the song of the night. Absolute belter, 10 out of 10. No notes if you ignore the outfits, both of which defy description.\u003c/p>\n\u003ch2>Random celebrities, doing the least\u003c/h2>\n\u003cp>Here are some famous people that show up in pre-recorded-at-home videos to talk about and/or to their dogs: Margaret Cho, Neil Patrick Harris, Drew Barrymore, Kristen Bell and Kristin Chenoweth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922004",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Here are some famous-ish people who show up in the studio to awkwardly introduce a segment, even though \u003cem>Entertainment Tonight\u003c/em>‘s Rachel Smith is doing most of the hosting: Kristin Cavallari, a musical duo named Tigirlily Gold, and Billy Ray Cyrus and his Australian wife. (Who is named Firerose, by the way. FIREROSE.)\u003c/p>\n\u003cp>There is even — and I was thoroughly taken aback when this started — an “In Memoriam” section featuring recently deceased dog-lovers. These include \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">Angus Cloud\u003c/a>, Tony Bennett, Tina Turner, Sinead O’Connor, tWitch (from \u003cem>The Ellen DeGeneres Show\u003c/em>) and many more. This is kind of sweet, but also fairly uncomfortable within the context.\u003c/p>\n\u003ch2>Dogs, doing the most\u003c/h2>\n\u003cp>Dogs that are service dogs. Dogs that are in the military. Dogs that do sports. Movie stunt dogs. Social media dogs. They all get a spotlight of one sort or another during \u003cem>Pet Gala\u003c/em>. At one point, Smith introduces a dog named Noodles like she’s just been asked out by Harry Styles, and I remain thoroughly confused hours after watching.\u003c/p>\n\u003cp>Oh, and Dolly reads a bedtime story to a room full of dogs too, but that’s to be expected, I suppose.\u003c/p>\n\u003cfigure id=\"attachment_13952799\" class=\"wp-caption aligncenter\" style=\"max-width: 2508px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png\" alt=\"A woman in a rocking chair reads from a book. Scattered around her are dogs lying on blankets. A dalmatian approaches her.\" width=\"2508\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime.png 2508w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1020x600.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-2048x1205.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/bedtime-1920x1130.png 1920w\" sizes=\"(max-width: 2508px) 100vw, 2508px\">\u003cfigcaption class=\"wp-caption-text\">This is one of the more normal things that happens in ‘Dolly Parton’s Pet Gala.’ Just FYI. \u003ccite>(CBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takeaways\u003c/h2>\n\u003col>\n\u003cli>That this made it onto network television in 2024 is astounding.\u003c/li>\n\u003cli>Famous people will do literally anything for Dolly Parton.\u003c/li>\n\u003cli>This might be one of the greatest things I have ever seen on TV.\u003c/li>\n\u003c/ol>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Pet Gala’ airs on CBS and streams on Paramount+ on Wednesday, Feb. 21 at 11 p.m. On demand viewing will also be available for Paramount+ Essential and Paramount+ with Showtime subscribers on Feb. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952420/dolly-doggy-parton-pet-gala-review-cbs-tv-special-puppy-love",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_9124",
"arts_8481",
"arts_7534",
"arts_8819",
"arts_4088",
"arts_769",
"arts_5422",
"arts_585",
"arts_2792"
],
"featImg": "arts_13952650",
"label": "arts_140"
},
"arts_13952433": {
"type": "posts",
"id": "arts_13952433",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952433",
"score": null,
"sort": [
1708452491000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708452491,
"format": "standard",
"title": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation",
"headTitle": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation | KQED",
"content": "\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>[aside postid='pop_108474']The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>[aside postid='arts_13883630']Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 925,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1710789062,
"excerpt": "‘Niagara Movement: The Early Battle for Civil Rights’ documents the victories and clashes of the 1900s. ",
"headData": {
"twImgId": "",
"twTitle": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation",
"socialTitle": "Documentary: How the Niagara Movement Became the NAACP %%page%% %%sep%% KQED",
"ogTitle": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation",
"ogImgId": "",
"twDescription": "",
"description": "‘Niagara Movement: The Early Battle for Civil Rights’ documents the victories and clashes of the 1900s. ",
"title": "Documentary: How the Niagara Movement Became the NAACP | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation",
"datePublished": "2024-02-20T10:08:11-08:00",
"dateModified": "2024-03-18T12:11:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "naacp-niagara-movement-pbs-documentary-review-web-dubois",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13952433/naacp-niagara-movement-pbs-documentary-review-web-dubois",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108474",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\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>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13883630",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952433/naacp-niagara-movement-pbs-documentary-review-web-dubois",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_990"
],
"tags": [
"arts_2733",
"arts_13672",
"arts_10278",
"arts_21950",
"arts_4565",
"arts_585"
],
"featImg": "arts_13952523",
"label": "arts_140"
},
"arts_13952549": {
"type": "posts",
"id": "arts_13952549",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952549",
"score": null,
"sort": [
1708447549000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708447549,
"format": "standard",
"title": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"headTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’ | KQED",
"content": "\u003cp>The only reasons people watch dating shows, really, are sex and mess.\u003c/p>\n\u003cp>Dating shows have been around for ages, swelling* when there’s a big success like \u003cem>The Bachelor \u003c/em>or \u003cem>Joe Millionaire \u003c/em>or \u003cem>Love Is Blind\u003c/em>. But they take all kinds of different shapes — it’s a test to see if you’ll cheat, or there’s a chance the person is ugly, or you have to get married, or whatever. They certainly have wildly varying levels of sex. \u003cem>The Bachelor \u003c/em>takes a kind of “and then the door closes and the music plays and you definitely do not even hear anybody making any noises,” while some other shows will give you considerably more than that.\u003c/p>\n\u003cp>[aside postid='arts_13952409']They all have mess, too. Not just mess, but messy messy mess. As I was telling a friend this week, Peacock’s \u003cem>Couple to Throuple \u003c/em>is really just more mess (and it’s on the high end for the amount of sex you’ll see), and in that sense it’s very conventional. But at least it’s a different \u003cem>kind\u003c/em> of mess than most other shows offer, particularly on mainstream outlets.\u003c/p>\n\u003cp>The setup is this: Four couples arrive at a resort. A bunch of single people also show up. Each couple is interested in potentially exploring a throuple, which (for the uninitiated) is an awkward portman-ménage-à-teau for an ongoing relationship among three people. Three of the couples include a man and a woman: Brittne and Sean, Dylan and Lauren, and Wilder and Corey. The other is two men, Rehman and Ashmal. All of the couples have some experience with experimentation with other people, but not in this kind of throuple arrangement. The show brings in some single people, all of whom also have some relevant experience, and each couple gets to pick one to try out as a possible third for their relationship. (If you think this sounds kind of strange and possibly a little unfair to the single person, that does come up.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1_YG-EKIQU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I want to make clear that there is nothing inherently salacious about polyamory. There are plenty of people who make it work. So when I say the show is joyfully trashy, that’s because of the show, not the relationship structure. After all, you can make joyfully trashy shows about couples, too. There’s also nothing particularly new about the throuple life \u003cem>if \u003c/em>you happen to know people who do it or have tried it, which an increasing number of us do. But at least it’s new mess. Different mess. Mess that makes you go, “Oh, yikes, that’s tricky.”\u003c/p>\n\u003cp>The first thing that experienced polyamorous people will tell you, I have learned, is that it requires a lot of work and communication. There are people who go into it — or who just think about it — imagining, “Whee, this must be a no-strings-attached sex festival!” But my first thought after watching two episodes was, “This seems like a relationship structure perfect for people who like to attend a lot of meetings.”\u003c/p>\n\u003cp>[aside postid='arts_13951751']Even on dating shows, I have rarely seen this much \u003cem>talking about the relationship\u003c/em>. Does the third like both of the people in the couple equally? Do both people in the couple like the third equally? Do these people connect physically but those people emotionally? What are the reasonable expectations of the potential third?\u003c/p>\n\u003cp>Familiar dynamics take on new specifics, as when the couples do an exercise with their potential thirds where one partner engages in sexier and sexier contact with the third, and the other sees how long they’re comfortable before they say the safe word to put a stop to it. In one couple, an argument breaks out in which the partner who was watching later gets mad and basically says, “The question isn’t why I didn’t use the safe word if I was getting upset, the question is why \u003cem>you \u003c/em>didn’t use the safe word when you should have \u003cem>known\u003c/em> I was getting upset.” You gotta think that level of expected mind-reading is going to make a throuple arrangement very, very difficult — as it would a couple arrangement.\u003c/p>\n\u003cfigure id=\"attachment_13952554\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png\" alt=\"Two men stand in a tropical looking resort, both wearing white shirts and pants, both looking serious.\" width=\"1200\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-800x492.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-768x472.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashmal, left, and Rehman in the ‘Boundaries’ episode of ‘Couple to Throuple.’ \u003ccite>(Paul Castillero/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some intriguing power shifts where at first, the thirds seem to be trying to put their best feet forward to be “chosen” by the couples, and then trying to impress them, but then before you know it, some of the thirds are sort of looking around saying, “Uh, it was nice knowing you guys.” Sometimes you’re the windshield, sometimes you’re the bug; sometimes you’re the pursuer, and sometimes you’re the pursued.\u003c/p>\n\u003cp>It’s a mess. I will watch it all.\u003c/p>\n\u003cp>*I apologize for using the word “swelling” in a discussion of dating shows.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two%27s+company%2C+three%27s+allowed+in+the+dating+show+%27Couple+to+Throuple%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 930,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1708447836,
"excerpt": "Based on this show, polyamory seems like a relationship structure perfect for people who like to attend a lot of meetings... ",
"headData": {
"twImgId": "",
"twTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"socialTitle": "Peacock’s New Dating Show ‘Couple to Throuple’ is Good-Messy %%page%% %%sep%% KQED",
"ogTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"ogImgId": "",
"twDescription": "",
"description": "Based on this show, polyamory seems like a relationship structure perfect for people who like to attend a lot of meetings... ",
"title": "Peacock’s New Dating Show ‘Couple to Throuple’ is Good-Messy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"datePublished": "2024-02-20T08:45:49-08:00",
"dateModified": "2024-02-20T08:50:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "couple-to-throuple-review-peacock-polyamory-dating-reality-show",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1232033944&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sat, 17 Feb 2024 07:00:46 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sat, 17 Feb 2024 07:00:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/17/1232033944/twos-company-threes-allowed-in-the-dating-show-couple-to-throuple?ft=nprml&f=1232033944",
"nprImageAgency": "Peacock",
"nprStoryId": "1232033944",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "Paul Castillero",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 17 Feb 2024 07:00:00 -0500",
"path": "/arts/13952549/couple-to-throuple-review-peacock-polyamory-dating-reality-show",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only reasons people watch dating shows, really, are sex and mess.\u003c/p>\n\u003cp>Dating shows have been around for ages, swelling* when there’s a big success like \u003cem>The Bachelor \u003c/em>or \u003cem>Joe Millionaire \u003c/em>or \u003cem>Love Is Blind\u003c/em>. But they take all kinds of different shapes — it’s a test to see if you’ll cheat, or there’s a chance the person is ugly, or you have to get married, or whatever. They certainly have wildly varying levels of sex. \u003cem>The Bachelor \u003c/em>takes a kind of “and then the door closes and the music plays and you definitely do not even hear anybody making any noises,” while some other shows will give you considerably more than that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952409",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>They all have mess, too. Not just mess, but messy messy mess. As I was telling a friend this week, Peacock’s \u003cem>Couple to Throuple \u003c/em>is really just more mess (and it’s on the high end for the amount of sex you’ll see), and in that sense it’s very conventional. But at least it’s a different \u003cem>kind\u003c/em> of mess than most other shows offer, particularly on mainstream outlets.\u003c/p>\n\u003cp>The setup is this: Four couples arrive at a resort. A bunch of single people also show up. Each couple is interested in potentially exploring a throuple, which (for the uninitiated) is an awkward portman-ménage-à-teau for an ongoing relationship among three people. Three of the couples include a man and a woman: Brittne and Sean, Dylan and Lauren, and Wilder and Corey. The other is two men, Rehman and Ashmal. All of the couples have some experience with experimentation with other people, but not in this kind of throuple arrangement. The show brings in some single people, all of whom also have some relevant experience, and each couple gets to pick one to try out as a possible third for their relationship. (If you think this sounds kind of strange and possibly a little unfair to the single person, that does come up.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C1_YG-EKIQU'\n title='//www.youtube.com/embed/C1_YG-EKIQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want to make clear that there is nothing inherently salacious about polyamory. There are plenty of people who make it work. So when I say the show is joyfully trashy, that’s because of the show, not the relationship structure. After all, you can make joyfully trashy shows about couples, too. There’s also nothing particularly new about the throuple life \u003cem>if \u003c/em>you happen to know people who do it or have tried it, which an increasing number of us do. But at least it’s new mess. Different mess. Mess that makes you go, “Oh, yikes, that’s tricky.”\u003c/p>\n\u003cp>The first thing that experienced polyamorous people will tell you, I have learned, is that it requires a lot of work and communication. There are people who go into it — or who just think about it — imagining, “Whee, this must be a no-strings-attached sex festival!” But my first thought after watching two episodes was, “This seems like a relationship structure perfect for people who like to attend a lot of meetings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951751",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Even on dating shows, I have rarely seen this much \u003cem>talking about the relationship\u003c/em>. Does the third like both of the people in the couple equally? Do both people in the couple like the third equally? Do these people connect physically but those people emotionally? What are the reasonable expectations of the potential third?\u003c/p>\n\u003cp>Familiar dynamics take on new specifics, as when the couples do an exercise with their potential thirds where one partner engages in sexier and sexier contact with the third, and the other sees how long they’re comfortable before they say the safe word to put a stop to it. In one couple, an argument breaks out in which the partner who was watching later gets mad and basically says, “The question isn’t why I didn’t use the safe word if I was getting upset, the question is why \u003cem>you \u003c/em>didn’t use the safe word when you should have \u003cem>known\u003c/em> I was getting upset.” You gotta think that level of expected mind-reading is going to make a throuple arrangement very, very difficult — as it would a couple arrangement.\u003c/p>\n\u003cfigure id=\"attachment_13952554\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png\" alt=\"Two men stand in a tropical looking resort, both wearing white shirts and pants, both looking serious.\" width=\"1200\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-800x492.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-768x472.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashmal, left, and Rehman in the ‘Boundaries’ episode of ‘Couple to Throuple.’ \u003ccite>(Paul Castillero/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some intriguing power shifts where at first, the thirds seem to be trying to put their best feet forward to be “chosen” by the couples, and then trying to impress them, but then before you know it, some of the thirds are sort of looking around saying, “Uh, it was nice knowing you guys.” Sometimes you’re the windshield, sometimes you’re the bug; sometimes you’re the pursuer, and sometimes you’re the pursued.\u003c/p>\n\u003cp>It’s a mess. I will watch it all.\u003c/p>\n\u003cp>*I apologize for using the word “swelling” in a discussion of dating shows.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two%27s+company%2C+three%27s+allowed+in+the+dating+show+%27Couple+to+Throuple%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952549/couple-to-throuple-review-peacock-polyamory-dating-reality-show",
"authors": [
"byline_arts_13952549"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_21951",
"arts_21794",
"arts_21952",
"arts_1386",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952550",
"label": "arts_140"
},
"arts_13952409": {
"type": "posts",
"id": "arts_13952409",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952409",
"score": null,
"sort": [
1708032232000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1708032232,
"format": "standard",
"title": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"headTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’ | KQED",
"content": "\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>[aside postid='pop_21655']All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Osu2N9gysYk&t=38s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>[aside postid='pop_98212']Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>[aside postid='arts_13952322']This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1007,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1708032232,
"excerpt": "‘This is Me… Now: A Love Story’ is a curious 65-minute creation to accompany J. Lo’s new album.",
"headData": {
"twImgId": "",
"twTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"socialTitle": "Jennifer Lopez’s New Self-Financed Film Is Bonkers %%page%% %%sep%% KQED",
"ogTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"ogImgId": "",
"twDescription": "",
"description": "‘This is Me… Now: A Love Story’ is a curious 65-minute creation to accompany J. Lo’s new album.",
"title": "Jennifer Lopez’s New Self-Financed Film Is Bonkers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"datePublished": "2024-02-15T13:23:52-08:00",
"dateModified": "2024-02-15T13:23:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "j-lo-this-is-me-now-album-short-film-review-weird",
"status": "publish",
"templateType": "standard",
"nprByline": "Jocelyn Noveck, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952409/j-lo-this-is-me-now-album-short-film-review-weird",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_21655",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Osu2N9gysYk'\n title='//www.youtube.com/embed/Osu2N9gysYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_98212",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952322",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952409/j-lo-this-is-me-now-album-short-film-review-weird",
"authors": [
"byline_arts_13952409"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_21948",
"arts_769",
"arts_585"
],
"featImg": "arts_13952412",
"label": "arts_140"
},
"arts_13952301": {
"type": "posts",
"id": "arts_13952301",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952301",
"score": null,
"sort": [
1707938152000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1707938152,
"format": "standard",
"title": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"headTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special | KQED",
"content": "\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>[aside postid='arts_13852729']Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go–Gzu_qGg\u003c/p>\n\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>[aside postid='arts_13938421']Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1011,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1707938152,
"excerpt": "The portrait that emerges is of a boy who likes baseball, outer space, James Brown and working with his hands. ",
"headData": {
"twImgId": "",
"twTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"socialTitle": "New ‘Peanuts’ Special Shines a Light on Franklin%%page%% %%sep%% KQED",
"ogTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"ogImgId": "",
"twDescription": "",
"description": "The portrait that emerges is of a boy who likes baseball, outer space, James Brown and working with his hands. ",
"title": "New ‘Peanuts’ Special Shines a Light on Franklin | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"datePublished": "2024-02-14T11:15:52-08:00",
"dateModified": "2024-02-14T11:15:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "franklin-peanuts-special-new-apple-tv-movie",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13952301/franklin-peanuts-special-new-apple-tv-movie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852729",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10870599",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Go'\n title='//www.youtube.com/embed/Go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938421",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952301/franklin-peanuts-special-new-apple-tv-movie",
"authors": [
"byline_arts_13952301"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_4262",
"arts_1050",
"arts_585"
],
"featImg": "arts_13952302",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 180,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1039,
"relation": "eq"
},
"items": [
"arts_13954333",
"arts_13954225",
"arts_13954052",
"arts_13953127",
"arts_13953066",
"arts_13953000",
"arts_13952691",
"arts_13952420",
"arts_13952433",
"arts_13952549",
"arts_13952409",
"arts_13952301"
],
"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_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_15246": {
"type": "terms",
"id": "arts_15246",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15246",
"found": true
},
"relationships": {},
"featImg": null,
"name": "action",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "action Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15258,
"slug": "action",
"isLoading": false,
"link": "/arts/tag/action"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_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_22025": {
"type": "terms",
"id": "arts_22025",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22025",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ID",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ID Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22037,
"slug": "id",
"isLoading": false,
"link": "/arts/tag/id"
},
"arts_930": {
"type": "terms",
"id": "arts_930",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "930",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kids",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kids Archives | KQED Arts",
"ogDescription": null
},
"ttid": 948,
"slug": "kids",
"isLoading": false,
"link": "/arts/tag/kids"
},
"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_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_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_22015": {
"type": "terms",
"id": "arts_22015",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22015",
"found": true
},
"relationships": {},
"featImg": null,
"name": "presidents",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "presidents Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22027,
"slug": "presidents",
"isLoading": false,
"link": "/arts/tag/presidents"
},
"arts_8481": {
"type": "terms",
"id": "arts_8481",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8481",
"found": true
},
"relationships": {},
"featImg": null,
"name": "CBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "CBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8493,
"slug": "cbs",
"isLoading": false,
"link": "/arts/tag/cbs"
},
"arts_10157": {
"type": "terms",
"id": "arts_10157",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10157",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mystery",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mystery Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10169,
"slug": "mystery",
"isLoading": false,
"link": "/arts/tag/mystery"
},
"arts_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_2627": {
"type": "terms",
"id": "arts_2627",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2627",
"found": true
},
"relationships": {},
"featImg": null,
"name": "japan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "japan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2639,
"slug": "japan",
"isLoading": false,
"link": "/arts/tag/japan"
},
"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_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
},
"arts_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_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_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_8819": {
"type": "terms",
"id": "arts_8819",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8819",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dogs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dogs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8831,
"slug": "dogs",
"isLoading": false,
"link": "/arts/tag/dogs"
},
"arts_4088": {
"type": "terms",
"id": "arts_4088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4088",
"found": true
},
"relationships": {},
"name": "Dolly Parton",
"slug": "dolly-parton",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Dolly Parton | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 4100,
"isLoading": false,
"link": "/arts/tag/dolly-parton"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"arts_2733": {
"type": "terms",
"id": "arts_2733",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2733",
"found": true
},
"relationships": {},
"featImg": null,
"name": "civil rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "civil rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2745,
"slug": "civil-rights",
"isLoading": false,
"link": "/arts/tag/civil-rights"
},
"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_21950": {
"type": "terms",
"id": "arts_21950",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21950",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NAACP",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NAACP Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21962,
"slug": "naacp",
"isLoading": false,
"link": "/arts/tag/naacp"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_21951": {
"type": "terms",
"id": "arts_21951",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21951",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dating",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dating Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21963,
"slug": "dating",
"isLoading": false,
"link": "/arts/tag/dating"
},
"arts_21794": {
"type": "terms",
"id": "arts_21794",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21794",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Peacock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Peacock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21806,
"slug": "peacock",
"isLoading": false,
"link": "/arts/tag/peacock"
},
"arts_21952": {
"type": "terms",
"id": "arts_21952",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21952",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reality tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reality tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21964,
"slug": "reality-tv",
"isLoading": false,
"link": "/arts/tag/reality-tv"
},
"arts_1386": {
"type": "terms",
"id": "arts_1386",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1386",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sex",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sex Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1398,
"slug": "sex",
"isLoading": false,
"link": "/arts/tag/sex"
},
"arts_21948": {
"type": "terms",
"id": "arts_21948",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21948",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jennifer Lopez",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jennifer Lopez Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21960,
"slug": "jennifer-lopez",
"isLoading": false,
"link": "/arts/tag/jennifer-lopez"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}