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_13952135": {
"type": "attachments",
"id": "arts_13952135",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952135",
"found": true
},
"parent": 13952134,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66.jpg",
"width": 1352,
"height": 760
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/the-daily-show-jon-desk-2_wide-76882ef35ce559143d333e3ece96d0c214dc7f66-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1707849648,
"modified": 1707851267,
"caption": "Jon Stewart returned Monday as host of ‘The Daily Show.’",
"description": null,
"title": "Jon Stewart returned Monday as host of ‘The Daily Show.’",
"credit": "Matt Wilson/ Comedy Central",
"status": "inherit",
"altTag": "A white man in a suit sits behind a news desk in a TV studio.",
"isLoading": false,
"fetchFailed": false
},
"arts_13952078": {
"type": "attachments",
"id": "arts_13952078",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13952078",
"found": true
},
"parent": 13952077,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b.jpg",
"width": 1188,
"height": 891
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/cardib-fdb7c7eb45345212692a62a65341b749daae1e1b-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1707760831,
"modified": 1707761493,
"caption": "Cardi B. advertising for NYX Cosmetics.",
"description": null,
"title": "Cardi B. advertising for NYX Cosmetics.",
"credit": "NYX",
"status": "inherit",
"altTag": "A Black woman with very long nails holds up a lipstick.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951740": {
"type": "attachments",
"id": "arts_13951740",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951740",
"found": true
},
"parent": 13951739,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-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-2024-02-07-at-11.12.57-AM-160x95.png",
"width": 160,
"mimeType": "image/png",
"height": 95
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-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-2024-02-07-at-11.12.57-AM.png",
"width": 2052,
"height": 1222
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-AM-2048x1220.png",
"width": 2048,
"mimeType": "image/png",
"height": 1220
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-AM-1020x607.png",
"width": 1020,
"mimeType": "image/png",
"height": 607
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-AM-1536x915.png",
"width": 1536,
"mimeType": "image/png",
"height": 915
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-AM-1920x1143.png",
"width": 1920,
"mimeType": "image/png",
"height": 1143
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-AM-800x476.png",
"width": 800,
"mimeType": "image/png",
"height": 476
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.12.57-AM-768x457.png",
"width": 768,
"mimeType": "image/png",
"height": 457
}
},
"publishDate": 1707333339,
"modified": 1707333420,
"caption": "Some of the adorable participants in this year's Puppy Bowl.",
"description": null,
"title": "Some of the adorable participants in this year's Puppy Bowl.",
"credit": "Animal Planet via AP",
"status": "inherit",
"altTag": "A beagle puppy and a sheepdog puppy face off on a fake football field, surrounded by other curious puppies.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951375": {
"type": "attachments",
"id": "arts_13951375",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951375",
"found": true
},
"parent": 13951374,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-scaled-e1706818459378.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1706817617,
"modified": 1706818525,
"caption": "Donald Glover and Maya Erskine star as John and Jane in ‘Mr. & Mrs. Smith.’",
"description": null,
"title": "Donald Glover and Maya Erskine star as John and Jane in ‘Mr. & Mrs. Smith.’",
"credit": "David Lee/ Prime Video",
"status": "inherit",
"altTag": "A Black man and Asian woman lie on the floor, face to face and very close.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951353": {
"type": "attachments",
"id": "arts_13951353",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951353",
"found": true
},
"parent": 13951349,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-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-2024-02-01-at-11.24.23-AM-160x98.png",
"width": 160,
"mimeType": "image/png",
"height": 98
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-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-2024-02-01-at-11.24.23-AM.png",
"width": 1846,
"height": 1130
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-1020x624.png",
"width": 1020,
"mimeType": "image/png",
"height": 624
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-1536x940.png",
"width": 1536,
"mimeType": "image/png",
"height": 940
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-800x490.png",
"width": 800,
"mimeType": "image/png",
"height": 490
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-768x470.png",
"width": 768,
"mimeType": "image/png",
"height": 470
}
},
"publishDate": 1706815553,
"modified": 1706815669,
"caption": "Aaron Pierre as Malcolm X in a scene from ‘Genius: MLK/X.’ ",
"description": null,
"title": "Aaron Pierre as Malcolm X in a scene from ‘Genius: MLK/X.’",
"credit": "Richard DuCree/ National Geographic via AP",
"status": "inherit",
"altTag": "A Black man wearing spectacles and a 1950s-style suit and overcoat stands looking serious in a hallway. Two men wearing bowties stand behind him.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951220": {
"type": "attachments",
"id": "arts_13951220",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951220",
"found": true
},
"parent": 13951218,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1.jpg",
"width": 1412,
"height": 794
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1706640805,
"modified": 1706643063,
"caption": "Naomi Watts plays Babe Paley and Tom Hollander is Truman Capote in ‘Feud: Capote Vs. the Swans.’",
"description": null,
"title": "Naomi Watts plays Babe Paley and Tom Hollander is Truman Capote in ‘Feud: Capote Vs. the Swans.’",
"credit": "FX",
"status": "inherit",
"altTag": "A balding man with glasses wearing a tuxedo reaches out to a woman sitting on a plush couch.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951138": {
"type": "attachments",
"id": "arts_13951138",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951138",
"found": true
},
"parent": 13951126,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM.png",
"width": 1760,
"height": 1122
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-1020x650.png",
"width": 1020,
"mimeType": "image/png",
"height": 650
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-1536x979.png",
"width": 1536,
"mimeType": "image/png",
"height": 979
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-800x510.png",
"width": 800,
"mimeType": "image/png",
"height": 510
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-768x490.png",
"width": 768,
"mimeType": "image/png",
"height": 490
}
},
"publishDate": 1706552718,
"modified": 1706552791,
"caption": "Huey Lewis, Quincy Jones and Michael Jackson in a moment from ‘The Greatest Night in Pop.’ ",
"description": null,
"title": "Huey Lewis, Quincy Jones and Michael Jackson in a moment from ‘The Greatest Night in Pop.’",
"credit": "Netflix via AP",
"status": "inherit",
"altTag": "Two white men and two Black men gather around sheet music inside a recording studio.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951068": {
"type": "attachments",
"id": "arts_13951068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951068",
"found": true
},
"parent": 13951067,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-e1706297936359.jpg",
"width": 1920,
"height": 1439
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-2048x1535.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1535
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1536x1151.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1151
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1706297166,
"modified": 1706298094,
"caption": "Callum Turner in ‘Masters of the Air.’",
"description": null,
"title": "Callum Turner in ‘Masters of the Air.’",
"credit": "Apple TV+",
"status": "inherit",
"altTag": "A 1940s-era American pilot stands smiling on the tarmac.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950975": {
"type": "attachments",
"id": "arts_13950975",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950975",
"found": true
},
"parent": 13950974,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-scaled-e1706211747409.jpg",
"width": 1920,
"height": 1281
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-2048x1366.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1366
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1536x1025.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1025
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1706210971,
"modified": 1706211857,
"caption": "Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.",
"description": null,
"title": "Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.",
"credit": "Prime Video",
"status": "inherit",
"altTag": "A slender middle aged white woman stands in a quiet dimly lit street. A figure lurks behind her.",
"isLoading": false,
"fetchFailed": false
},
"arts_13873913": {
"type": "attachments",
"id": "arts_13873913",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13873913",
"found": true
},
"parent": 13873909,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1202189844-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580102556,
"modified": 1705603656,
"caption": "Billie Eilish accepts the Best New Artist award from Alicia Keys and Dua Lipa onstage during the 62nd Annual Grammy Awards in 2020.",
"description": null,
"title": "62nd Annual GRAMMY Awards - Show",
"credit": "Kevork Djansezian/ Getty Images",
"status": "inherit",
"altTag": "Billie Eilish accepts the Best New Artist award from Alicia Keys and Dua Lipa onstage during the 62nd Annual GRAMMY Awards at Staples Center on January 26, 2020 in Los Angeles, California.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950423": {
"type": "attachments",
"id": "arts_13950423",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950423",
"found": true
},
"parent": 13950422,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-scaled-e1705435014868.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010303-415b17d5788b4604237233f5d503a6778176787c-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1705434544,
"modified": 1705435077,
"caption": "Cush Jumbo stars as June Lenker in ‘Criminal Record.’",
"description": null,
"title": "Cush Jumbo stars as June Lenker in ‘Criminal Record.’",
"credit": "AppleTV+",
"status": "inherit",
"altTag": "A Black female police officer with a shaved head stands in front of a graffiti'd shop front.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950385": {
"type": "attachments",
"id": "arts_13950385",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950385",
"found": true
},
"parent": 13950384,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-scaled-e1705399970954.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1936409310-975a52e77fc2cbd604fec9283af1622e3d585073-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1705399445,
"modified": 1705399998,
"caption": "(L-R) Christopher Storer, Joanna Calo, Ayo Edebiri, Matty Matheson, Jeremy Allen White, Tyson Bidner, Edwin Lee Gibson, Liza Colón-Zayas, Oliver Platt, and Ebon Moss-Bachrach accept the Outstanding Comedy Series award for ‘The Bear’ onstage during the 75th Primetime Emmy Awards at Peacock Theater in LA, Jan. 15, 2024.",
"description": null,
"title": "(L-R) Christopher Storer, Joanna Calo, Ayo Edebiri, Matty Matheson, Jeremy Allen White, Tyson Bidner, Edwin Lee Gibson, Liza Colón-Zayas, Oliver Platt, and Ebon Moss-Bachrach accept the Outstanding Comedy Series award for ‘The Bear’ onstage during the 75th Primetime Emmy Awards at Peacock Theater in LA, Jan. 15, 2024.",
"credit": "Kevin Winter/ Getty Images",
"status": "inherit",
"altTag": "Men and women of various ages and races crowd onto a stage behind a large white man with a mustache who is clutching a trophy.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13952134": {
"type": "authors",
"id": "byline_arts_13952134",
"meta": {
"override": true
},
"slug": "byline_arts_13952134",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13952077": {
"type": "authors",
"id": "byline_arts_13952077",
"meta": {
"override": true
},
"slug": "byline_arts_13952077",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13951739": {
"type": "authors",
"id": "byline_arts_13951739",
"meta": {
"override": true
},
"slug": "byline_arts_13951739",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13951374": {
"type": "authors",
"id": "byline_arts_13951374",
"meta": {
"override": true
},
"slug": "byline_arts_13951374",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13951349": {
"type": "authors",
"id": "byline_arts_13951349",
"meta": {
"override": true
},
"slug": "byline_arts_13951349",
"name": "Alicia Rancilio, Associated Press",
"isLoading": false
},
"byline_arts_13951218": {
"type": "authors",
"id": "byline_arts_13951218",
"meta": {
"override": true
},
"slug": "byline_arts_13951218",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13951126": {
"type": "authors",
"id": "byline_arts_13951126",
"meta": {
"override": true
},
"slug": "byline_arts_13951126",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13951067": {
"type": "authors",
"id": "byline_arts_13951067",
"meta": {
"override": true
},
"slug": "byline_arts_13951067",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13950974": {
"type": "authors",
"id": "byline_arts_13950974",
"meta": {
"override": true
},
"slug": "byline_arts_13950974",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13950553": {
"type": "authors",
"id": "byline_arts_13950553",
"meta": {
"override": true
},
"slug": "byline_arts_13950553",
"name": "Maria Sherman, Associated Press",
"isLoading": false
},
"byline_arts_13950422": {
"type": "authors",
"id": "byline_arts_13950422",
"meta": {
"override": true
},
"slug": "byline_arts_13950422",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13950384": {
"type": "authors",
"id": "byline_arts_13950384",
"meta": {
"override": true
},
"slug": "byline_arts_13950384",
"name": "Linda Holmes",
"isLoading": false
}
},
"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": 17
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 17
}
},
{
"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_13952134": {
"type": "posts",
"id": "arts_13952134",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952134",
"score": null,
"sort": [
1707851535000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1707851535,
"format": "standard",
"title": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"headTitle": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left | KQED",
"content": "\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NpBPm0b9deQ\u003c/p>\n\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13952077']But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6F4L5NkdaRY\u003c/p>\n\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7cmWbSv-GOE\u003c/p>\n\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951374']But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 771,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1707851535,
"excerpt": "Stewart eased back into the host's chair without missing a beat. It felt like he left a few weeks ago, rather than in 2015.",
"headData": {
"twImgId": "",
"twTitle": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"socialTitle": "Jon Stewart Returns to ‘The Daily Show’ in Time for Election 2024%%page%% %%sep%% KQED",
"ogTitle": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"ogImgId": "",
"twDescription": "",
"description": "Stewart eased back into the host's chair without missing a beat. It felt like he left a few weeks ago, rather than in 2015.",
"title": "Jon Stewart Returns to ‘The Daily Show’ in Time for Election 2024 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
"datePublished": "2024-02-13T11:12:15-08:00",
"dateModified": "2024-02-13T11:12:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-daily-show-with-jon-stewarts-returns-triumph",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1231062790&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 13 Feb 2024 05:41:00 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 13 Feb 2024 12:13:53 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/13/1231062790/jon-stewart-daily-show-return-smooth?ft=nprml&f=1231062790",
"nprAudio": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/me/2024/02/20240213_me_jon_stewart_returns.mp3?orgId=1&topicId=1138&d=215&p=3&story=1231062790&ft=nprml&f=1231062790",
"nprImageAgency": "Comedy Central",
"nprAudioM3u": "http://api.npr.org/m3u/11231099279-c610fd.m3u?orgId=1&topicId=1138&d=215&p=3&story=1231062790&ft=nprml&f=1231062790",
"nprStoryId": "1231062790",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Matt Wilson",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 13 Feb 2024 12:13:00 -0500",
"path": "/arts/13952134/the-daily-show-with-jon-stewarts-returns-triumph",
"audioUrl": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/me/2024/02/20240213_me_jon_stewart_returns.mp3?orgId=1&topicId=1138&d=215&p=3&story=1231062790&ft=nprml&f=1231062790",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NpBPm0b9deQ'\n title='//www.youtube.com/embed/NpBPm0b9deQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952077",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6F4L5NkdaRY'\n title='//www.youtube.com/embed/6F4L5NkdaRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7cmWbSv-GOE'\n title='//www.youtube.com/embed/7cmWbSv-GOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951374",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952134/the-daily-show-with-jon-stewarts-returns-triumph",
"authors": [
"byline_arts_13952134"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_4949",
"arts_8805",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952135",
"label": "arts_140"
},
"arts_13952077": {
"type": "posts",
"id": "arts_13952077",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13952077",
"score": null,
"sort": [
1707762468000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1707762468,
"format": "standard",
"title": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"headTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners | KQED",
"content": "\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Z3vPLTpa30\u003c/p>\n\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>[aside postid='arts_13951795']Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sNGbLrrGYGs\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfB-glrgn5o\u003c/p>\n\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRaBlE6maf4\u003c/p>\n\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>[aside postid='pop_105499']But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0LXSb0PQ6HQ\u003c/p>\n\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xW-zNOT4P1A\u003c/p>\n\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUnKqXTSJWU\u003c/p>\n\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zolFHbtEew\u003c/p>\n\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZtdfuNZtIU\u003c/p>\n\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wYPTZIFQoDQ\u003c/p>\n\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DTLM5o-9hYg\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YKzk1h7qrj8\u003c/p>\n\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OBcd8S0YYuU\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+ads+played+it+safe%2C+but+there+were+still+some+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2220,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1707762468,
"excerpt": "Celebrities from Cardi B to Arnold Schwarzenegger sold products with a wink.",
"headData": {
"twImgId": "",
"twTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"socialTitle": "Best and Worst Super Bowl Ads, 2024 %%page%% %%sep%% KQED",
"ogTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"ogImgId": "",
"twDescription": "",
"description": "Celebrities from Cardi B to Arnold Schwarzenegger sold products with a wink.",
"title": "Best and Worst Super Bowl Ads, 2024 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"datePublished": "2024-02-12T10:27:48-08:00",
"dateModified": "2024-02-12T10:27:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "super-bowl-commercials-best-and-worst-2024",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1229431685&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 12 Feb 2024 05:01:11 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 12 Feb 2024 12:13:08 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/12/1229431685/best-super-bowl-commercials?ft=nprml&f=1229431685",
"nprImageAgency": "Screenshot by NPR",
"nprStoryId": "1229431685",
"nprByline": "Eric Deggans",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 12 Feb 2024 12:13:00 -0500",
"path": "/arts/13952077/super-bowl-commercials-best-and-worst-2024",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5Z3vPLTpa30'\n title='//www.youtube.com/embed/5Z3vPLTpa30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951795",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sNGbLrrGYGs'\n title='//www.youtube.com/embed/sNGbLrrGYGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sfB-glrgn5o'\n title='//www.youtube.com/embed/sfB-glrgn5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hRaBlE6maf4'\n title='//www.youtube.com/embed/hRaBlE6maf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_105499",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0LXSb0PQ6HQ'\n title='//www.youtube.com/embed/0LXSb0PQ6HQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xW-zNOT4P1A'\n title='//www.youtube.com/embed/xW-zNOT4P1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aUnKqXTSJWU'\n title='//www.youtube.com/embed/aUnKqXTSJWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6zolFHbtEew'\n title='//www.youtube.com/embed/6zolFHbtEew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sZtdfuNZtIU'\n title='//www.youtube.com/embed/sZtdfuNZtIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wYPTZIFQoDQ'\n title='//www.youtube.com/embed/wYPTZIFQoDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DTLM5o-9hYg'\n title='//www.youtube.com/embed/DTLM5o-9hYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YKzk1h7qrj8'\n title='//www.youtube.com/embed/YKzk1h7qrj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OBcd8S0YYuU'\n title='//www.youtube.com/embed/OBcd8S0YYuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+ads+played+it+safe%2C+but+there+were+still+some+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13952077/super-bowl-commercials-best-and-worst-2024",
"authors": [
"byline_arts_13952077"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_21823",
"arts_3842"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13952078",
"label": "arts_137"
},
"arts_13951739": {
"type": "posts",
"id": "arts_13951739",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951739",
"score": null,
"sort": [
1707334388000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1707334388,
"format": "standard",
"title": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins",
"headTitle": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins | KQED",
"content": "\u003cp>The annual Puppy Bowl turns 20 this year — well over middle age in dog years. But does the sheer cuteness of it really ever get old?\u003c/p>\n\u003cp>“Who doesn’t want to watch dogs play all day long?” asks Laurie Johnson, the director of Florida Little Dog Rescue in St. Cloud, Florida, who has been part of Puppy Bowl for a decade.\u003c/p>\n\u003cp>[aside postid='news_11974882']There are some changes this year to the canine football telecast: Four previous puppy players return to be inducted in the new Puppy Bowl Hall of Fame and the show, which has grown to include armadillos, hedgehogs and chickens, will focus on dogs.\u003c/p>\n\u003cp>“What we’ve done this year to flip the whole script is because it’s sort of a celebration of the fact that it’s the 20th year,” says Puppy Bowl referee Dan Schachner. “We’ve decided to go all in on puppy, making it the “most puppiest Puppy Bowl ever.”\u003c/p>\n\u003cp>The Puppy Bowl made its debut as counter-programming to the Super Bowl in 2005. Dogs score touchdowns on a gridiron carpet when they cross the goal line — any goal line — with a toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is really just an excuse to spend time watching adorable, clumsy pups in colorful sweaters play with chew toys, wag their tails furiously and lick the camera. A deeper reason is to encourage animal adoption.\u003c/p>\n\u003cp>“We always say the same message every year: Adopt, don’t shop,” says Schachner. “There are responsible breeders out there, but it kind of defies logic that somebody who’s searching for a dog would look beyond their local shelter or rescue.”\u003c/p>\n\u003cp>According to the ASPCA, approximately 390,000 shelter dogs are euthanized each year and 2 million shelter dogs are adopted. Schachner says the number of animals languishing in shelters is back up after falling during the pandemic. “It’s worse than ever,” he says.\u003c/p>\n\u003cp>Florida Little Dog Rescue, which like all puppy groups is vetted by Animal Planet, sent seven pup players and two Hall of Fame inductees this year. Johnson, who volunteers her time, says it’s an honor that Animal Planet picks her pups year after year.\u003c/p>\n\u003cp>[aside postid='arts_13951328']“It does bring attention to our rescue, which helps some of our other dogs get adopted. But, honestly, for us, the biggest excitement is that we’re helping dogs all over the country get into homes, because rescue is not a competition, it’s a cooperation,” says Johnson.\u003c/p>\n\u003cp>Most of the puppies are usually adopted by airtime, since the show is filmed in the fall. But the point is to show that animals just like the ones on the show can be found in any shelter at any time.\u003c/p>\n\u003cp>Schachner also has some advice for anyone who falls for a particular pup on the broadcast: “That animal is probably likely part of a litter, right? So there’s probably siblings out there that are still up for adoption or their parents — their mom, their dad — is in the shelter looking for a forever home.”\u003c/p>\n\u003cp>Florida Little Dog Rescue was the first to send a Shar Pei to the Puppy Bowl — the pup, Wrinkles, was quickly adopted by a crew member at the taping — and Johnson says many viewers might not know that all kinds of breeds — Corgis, Westies, Doodles and Cavapoos, included — are available at shelters and rescue groups.\u003c/p>\n\u003cfigure id=\"attachment_13951741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png\" alt=\"A man in a referee uniform lays down on a miniature football field surrounded by tiny puppies.\" width=\"1920\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1536x1021.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Referee Dan Schachner with participants of the annual Puppy Bowl. \u003ccite>(Animal Planet via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inaugural Puppy Bowl was watched by nearly 6 million viewers. Last year, 13.2 million viewers tuned in, the largest reach for the event in five years. In comparison, The Emmy Awards telecast on Fox this year reached just 4.3 million viewers. This year’s show will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and Discovery.\u003c/p>\n\u003cp>The dogs are split into two teams — Team Fluff and Team Ruff — and each dog is given a nickname — like “Slick Rick” or “J-Paw” — and a specialty, like “Epic end zone dance.”\u003c/p>\n\u003cp>They are free to frolic, but may face penalties for things like “unsportlike dog conduct” and “trash barking.” Awards are given to Most Valuable Puppy and, new this year, an Underdog Award for the more introverted pup.\u003c/p>\n\u003cp>[aside postid='arts_13873945']This year’s broadcast is built on the work of dozens of volunteers, as well as 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras. The cat halftime show will also return.\u003c/p>\n\u003cp>Schachner started refereeing 13 years ago, when there were 59 dogs invited. “I’ll never forget that because I thought that was a tremendous amount of dogs to be trying to officiate in one place.”\u003c/p>\n\u003cp>That number has by now more than doubled, with this year’s broadcast featuring 131 puppies. “The scope and the size of this show from the time I started 13 years ago to now is just very impressive.”\u003c/p>\n\u003cp>The canine entries this time come from 73 shelters and rescue groups across 36 states and territories. The entrance requirements include being healthy and sturdy enough to be on the field with playmates, between 3-6 months old and having no training.\u003c/p>\n\u003cp>“We don’t want dogs that are show dogs, that are sitting there with a trainer. We want to see them in all their puppy glory. Part of that is to show what puppies are in their true state,” says Schachner.\u003c/p>\n\u003cp>“They are playful, they are curious, they’re going to get into trouble, they’re going to do crazy things. And from time to time, they’re going to score touchdowns and really impress you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Puppy Bowl airs at 11 a.m. on Feb. 11, 2024 and will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and discovery+.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1034,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1707334388,
"excerpt": "This year’s show includes dozens of volunteers, 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras.",
"headData": {
"twImgId": "",
"twTitle": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins",
"socialTitle": "The 2024 Puppy Bowl: Team Fluff, Team Ruff Go Head-to-Head %%page%% %%sep%% KQED",
"ogTitle": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins",
"ogImgId": "",
"twDescription": "",
"description": "This year’s show includes dozens of volunteers, 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras.",
"title": "The 2024 Puppy Bowl: Team Fluff, Team Ruff Go Head-to-Head | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins",
"datePublished": "2024-02-07T11:33:08-08:00",
"dateModified": "2024-02-07T11:33:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "puppy-bowl-20th-anniversary-team-fluff-team-ruff-referee-dan",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13951739/puppy-bowl-20th-anniversary-team-fluff-team-ruff-referee-dan",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual Puppy Bowl turns 20 this year — well over middle age in dog years. But does the sheer cuteness of it really ever get old?\u003c/p>\n\u003cp>“Who doesn’t want to watch dogs play all day long?” asks Laurie Johnson, the director of Florida Little Dog Rescue in St. Cloud, Florida, who has been part of Puppy Bowl for a decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11974882",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There are some changes this year to the canine football telecast: Four previous puppy players return to be inducted in the new Puppy Bowl Hall of Fame and the show, which has grown to include armadillos, hedgehogs and chickens, will focus on dogs.\u003c/p>\n\u003cp>“What we’ve done this year to flip the whole script is because it’s sort of a celebration of the fact that it’s the 20th year,” says Puppy Bowl referee Dan Schachner. “We’ve decided to go all in on puppy, making it the “most puppiest Puppy Bowl ever.”\u003c/p>\n\u003cp>The Puppy Bowl made its debut as counter-programming to the Super Bowl in 2005. Dogs score touchdowns on a gridiron carpet when they cross the goal line — any goal line — with a toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is really just an excuse to spend time watching adorable, clumsy pups in colorful sweaters play with chew toys, wag their tails furiously and lick the camera. A deeper reason is to encourage animal adoption.\u003c/p>\n\u003cp>“We always say the same message every year: Adopt, don’t shop,” says Schachner. “There are responsible breeders out there, but it kind of defies logic that somebody who’s searching for a dog would look beyond their local shelter or rescue.”\u003c/p>\n\u003cp>According to the ASPCA, approximately 390,000 shelter dogs are euthanized each year and 2 million shelter dogs are adopted. Schachner says the number of animals languishing in shelters is back up after falling during the pandemic. “It’s worse than ever,” he says.\u003c/p>\n\u003cp>Florida Little Dog Rescue, which like all puppy groups is vetted by Animal Planet, sent seven pup players and two Hall of Fame inductees this year. Johnson, who volunteers her time, says it’s an honor that Animal Planet picks her pups year after year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951328",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It does bring attention to our rescue, which helps some of our other dogs get adopted. But, honestly, for us, the biggest excitement is that we’re helping dogs all over the country get into homes, because rescue is not a competition, it’s a cooperation,” says Johnson.\u003c/p>\n\u003cp>Most of the puppies are usually adopted by airtime, since the show is filmed in the fall. But the point is to show that animals just like the ones on the show can be found in any shelter at any time.\u003c/p>\n\u003cp>Schachner also has some advice for anyone who falls for a particular pup on the broadcast: “That animal is probably likely part of a litter, right? So there’s probably siblings out there that are still up for adoption or their parents — their mom, their dad — is in the shelter looking for a forever home.”\u003c/p>\n\u003cp>Florida Little Dog Rescue was the first to send a Shar Pei to the Puppy Bowl — the pup, Wrinkles, was quickly adopted by a crew member at the taping — and Johnson says many viewers might not know that all kinds of breeds — Corgis, Westies, Doodles and Cavapoos, included — are available at shelters and rescue groups.\u003c/p>\n\u003cfigure id=\"attachment_13951741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png\" alt=\"A man in a referee uniform lays down on a miniature football field surrounded by tiny puppies.\" width=\"1920\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1536x1021.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Referee Dan Schachner with participants of the annual Puppy Bowl. \u003ccite>(Animal Planet via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inaugural Puppy Bowl was watched by nearly 6 million viewers. Last year, 13.2 million viewers tuned in, the largest reach for the event in five years. In comparison, The Emmy Awards telecast on Fox this year reached just 4.3 million viewers. This year’s show will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and Discovery.\u003c/p>\n\u003cp>The dogs are split into two teams — Team Fluff and Team Ruff — and each dog is given a nickname — like “Slick Rick” or “J-Paw” — and a specialty, like “Epic end zone dance.”\u003c/p>\n\u003cp>They are free to frolic, but may face penalties for things like “unsportlike dog conduct” and “trash barking.” Awards are given to Most Valuable Puppy and, new this year, an Underdog Award for the more introverted pup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13873945",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This year’s broadcast is built on the work of dozens of volunteers, as well as 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras. The cat halftime show will also return.\u003c/p>\n\u003cp>Schachner started refereeing 13 years ago, when there were 59 dogs invited. “I’ll never forget that because I thought that was a tremendous amount of dogs to be trying to officiate in one place.”\u003c/p>\n\u003cp>That number has by now more than doubled, with this year’s broadcast featuring 131 puppies. “The scope and the size of this show from the time I started 13 years ago to now is just very impressive.”\u003c/p>\n\u003cp>The canine entries this time come from 73 shelters and rescue groups across 36 states and territories. The entrance requirements include being healthy and sturdy enough to be on the field with playmates, between 3-6 months old and having no training.\u003c/p>\n\u003cp>“We don’t want dogs that are show dogs, that are sitting there with a trainer. We want to see them in all their puppy glory. Part of that is to show what puppies are in their true state,” says Schachner.\u003c/p>\n\u003cp>“They are playful, they are curious, they’re going to get into trouble, they’re going to do crazy things. And from time to time, they’re going to score touchdowns and really impress you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Puppy Bowl airs at 11 a.m. on Feb. 11, 2024 and will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and discovery+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951739/puppy-bowl-20th-anniversary-team-fluff-team-ruff-referee-dan",
"authors": [
"byline_arts_13951739"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_13238",
"arts_990"
],
"tags": [
"arts_9124",
"arts_8819",
"arts_3842",
"arts_585"
],
"featImg": "arts_13951740",
"label": "arts_140"
},
"arts_13951374": {
"type": "posts",
"id": "arts_13951374",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951374",
"score": null,
"sort": [
1706819182000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706819182,
"format": "standard",
"title": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"headTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry | KQED",
"content": "\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13951349']\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CZ0B22z22pI\u003c/p>\n\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AsaMWxppznk\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>[aside postid='arts_13951126']It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>[aside postid='arts_13951218']Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\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=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1520,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1706819452,
"excerpt": "Donald Glover’s new Prime Video series looks a little like a cologne ad or a retro heist movie ... in a good way.",
"headData": {
"twImgId": "",
"twTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"socialTitle": "‘Mr. & Mrs. Smith’ Review: Winning Action, On-Screen Chemistry %%page%% %%sep%% KQED",
"ogTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"ogImgId": "",
"twDescription": "",
"description": "Donald Glover’s new Prime Video series looks a little like a cologne ad or a retro heist movie ... in a good way.",
"title": "‘Mr. & Mrs. Smith’ Review: Winning Action, On-Screen Chemistry | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"datePublished": "2024-02-01T12:26:22-08:00",
"dateModified": "2024-02-01T12:30:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1228129090&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 01 Feb 2024 09:01:08 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 01 Feb 2024 09:01:08 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/01/1228129090/mr-mrs-smith-review-donald-glover-maya-erskine?ft=nprml&f=1228129090",
"nprImageAgency": "Prime Video",
"nprStoryId": "1228129090",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "David Lee",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Feb 2024 09:01:00 -0500",
"path": "/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\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>\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\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/CZ0B22z22pI'\n title='//www.youtube.com/embed/CZ0B22z22pI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AsaMWxppznk'\n title='//www.youtube.com/embed/AsaMWxppznk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\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>It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951218",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\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>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\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=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"authors": [
"byline_arts_13951374"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10521",
"arts_21913",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951375",
"label": "arts_140"
},
"arts_13951349": {
"type": "posts",
"id": "arts_13951349",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951349",
"score": null,
"sort": [
1706816552000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706816552,
"format": "standard",
"title": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"headTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions | KQED",
"content": "\u003cp>Much has been written about the one-and-only time the Rev. Martin Luther King Jr. and Malcolm X met. It was on March 26, 1964, and the two civil rights leaders were both in Washington for a Senate debate on the Civil Rights Act.\u003c/p>\n\u003cp>The moment is also depicted in the new installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series called \u003cem>Genius: MLK /X\u003c/em>, premiering Thursday. This is the fourth series.\u003c/p>\n\u003cp>[aside postid='arts_13823377']Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2O2JZ7ZYgYc\u003c/p>\n\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>[aside postid='arts_13854299']For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>[aside postid='arts_13819139']“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\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>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 900,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1706819486,
"excerpt": "‘One misconception is that either you align with Malcolm or with Martin,’ the show's executive producer says. ‘We need both.’",
"headData": {
"twImgId": "",
"twTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"socialTitle": "‘Genius: MLK/X’ Will Stream on Nat Geo, Hulu and Disney+%%page%% %%sep%% KQED",
"ogTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"ogImgId": "",
"twDescription": "",
"description": "‘One misconception is that either you align with Malcolm or with Martin,’ the show's executive producer says. ‘We need both.’",
"title": "‘Genius: MLK/X’ Will Stream on Nat Geo, Hulu and Disney+ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"datePublished": "2024-02-01T11:42:32-08:00",
"dateModified": "2024-02-01T12:31:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming",
"status": "publish",
"templateType": "standard",
"nprByline": "Alicia Rancilio, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much has been written about the one-and-only time the Rev. Martin Luther King Jr. and Malcolm X met. It was on March 26, 1964, and the two civil rights leaders were both in Washington for a Senate debate on the Civil Rights Act.\u003c/p>\n\u003cp>The moment is also depicted in the new installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series called \u003cem>Genius: MLK /X\u003c/em>, premiering Thursday. This is the fourth series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13823377",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\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/2O2JZ7ZYgYc'\n title='//www.youtube.com/embed/2O2JZ7ZYgYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854299",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13819139",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\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>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming",
"authors": [
"byline_arts_13951349"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75",
"arts_990"
],
"tags": [
"arts_21912",
"arts_7102",
"arts_769",
"arts_585"
],
"featImg": "arts_13951353",
"label": "arts_140"
},
"arts_13951218": {
"type": "posts",
"id": "arts_13951218",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951218",
"score": null,
"sort": [
1706643212000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706643212,
"format": "standard",
"title": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"headTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies | KQED",
"content": "\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YabKNs66eeg\u003c/p>\n\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>[aside postid='arts_13950974']The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\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=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 605,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706643212,
"excerpt": "Tom Hollander and Naomi Watts lead a powerhouse cast in the new eight-part FX series, mostly directed by Gus Van Sant.",
"headData": {
"twImgId": "",
"twTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"socialTitle": "‘Feud: Truman Capote Vs. The Swans’ Review: Unmissable TV %%page%% %%sep%% KQED",
"ogTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"ogImgId": "",
"twDescription": "",
"description": "Tom Hollander and Naomi Watts lead a powerhouse cast in the new eight-part FX series, mostly directed by Gus Van Sant.",
"title": "‘Feud: Truman Capote Vs. The Swans’ Review: Unmissable TV | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"datePublished": "2024-01-30T11:33:32-08:00",
"dateModified": "2024-01-30T11:33:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1227854692&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 30 Jan 2024 12:21:19 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 30 Jan 2024 12:21:19 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/30/1227854692/feud-truman-capote-vs-the-swans-review?ft=nprml&f=1227854692",
"nprImageAgency": "FX",
"nprStoryId": "1227854692",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 30 Jan 2024 12:21:00 -0500",
"path": "/arts/13951218/dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\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>Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\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/YabKNs66eeg'\n title='//www.youtube.com/embed/YabKNs66eeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\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=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951218/dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"authors": [
"byline_arts_13951218"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8237",
"arts_769",
"arts_585",
"arts_21901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951220",
"label": "arts_140"
},
"arts_13951126": {
"type": "posts",
"id": "arts_13951126",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951126",
"score": null,
"sort": [
1706553108000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706553108,
"format": "standard",
"title": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"headTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session | KQED",
"content": "\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1116,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1706553108,
"excerpt": "‘The Greatest Night in Pop’ captures the good, the bad and the awkward from one of pop's most legendary recording sessions.",
"headData": {
"twImgId": "",
"twTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"socialTitle": "New Netflix Documentary Captures ‘We Are the World’ Recording %%page%% %%sep%% KQED",
"ogTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"ogImgId": "",
"twDescription": "",
"description": "‘The Greatest Night in Pop’ captures the good, the bad and the awkward from one of pop's most legendary recording sessions.",
"title": "New Netflix Documentary Captures ‘We Are the World’ Recording | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"datePublished": "2024-01-29T10:31:48-08:00",
"dateModified": "2024-01-29T10:31:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "we-are-the-world-documentary-netflix-80s",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13951126/we-are-the-world-documentary-netflix-80s",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13933809",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936153",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\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/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951078",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938155",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951126/we-are-the-world-documentary-netflix-80s",
"authors": [
"byline_arts_13951126"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_990"
],
"tags": [
"arts_10493",
"arts_13672",
"arts_3324",
"arts_769",
"arts_585"
],
"featImg": "arts_13951138",
"label": "arts_140"
},
"arts_13951067": {
"type": "posts",
"id": "arts_13951067",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951067",
"score": null,
"sort": [
1706298701000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706298701,
"format": "aside",
"title": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’",
"headTitle": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’ | KQED",
"content": "\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>[aside postid='arts_13950974']Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lA-1JCRguZ0\u003c/p>\n\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940076']Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\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=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 639,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706305523,
"excerpt": "The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.",
"headData": {
"twImgId": "",
"twTitle": "Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’",
"socialTitle": "‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies %%page%% %%sep%% KQED",
"ogTitle": "Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’",
"ogImgId": "",
"twDescription": "",
"description": "The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.",
"title": "‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’",
"datePublished": "2024-01-26T11:51:41-08:00",
"dateModified": "2024-01-26T13:45:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226859205&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 26 Jan 2024 05:00:46 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 26 Jan 2024 05:00:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/26/1226859205/masters-of-the-air-review-spielberg-hanks?ft=nprml&f=1226859205",
"nprAudio": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"nprImageAgency": "Apple TV+",
"nprAudioM3u": "http://api.npr.org/m3u/11227177156-fae457.m3u?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"nprStoryId": "1226859205",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 26 Jan 2024 13:23:00 -0500",
"path": "/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"audioUrl": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\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>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\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/lA-1JCRguZ0'\n title='//www.youtube.com/embed/lA-1JCRguZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\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=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"authors": [
"byline_arts_13951067"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_769",
"arts_585",
"arts_3038"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951068",
"label": "arts_140"
},
"arts_13950974": {
"type": "posts",
"id": "arts_13950974",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950974",
"score": null,
"sort": [
1706212657000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1706212657,
"format": "standard",
"title": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"headTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’ | KQED",
"content": "\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>[aside postid='arts_13950422']Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=whHb3ClSdrQ\u003c/p>\n\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>[aside postid='arts_13940076']Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\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=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1773,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1706578116,
"excerpt": "The TV adaptation of the 2016 novel ‘The Expatriates’ tells the stories of several women navigating expat ennui.",
"headData": {
"twImgId": "",
"twTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"socialTitle": "‘Expats’ Review: New Prime Series Sometimes Misses the Mark %%page%% %%sep%% KQED",
"ogTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"ogImgId": "",
"twDescription": "",
"description": "The TV adaptation of the 2016 novel ‘The Expatriates’ tells the stories of several women navigating expat ennui.",
"title": "‘Expats’ Review: New Prime Series Sometimes Misses the Mark | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"datePublished": "2024-01-25T11:57:37-08:00",
"dateModified": "2024-01-29T17:28:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226666037&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 25 Jan 2024 07:00:12 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 25 Jan 2024 07:00:12 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/25/1226666037/expats-review-nicole-kidman?ft=nprml&f=1226666037",
"nprImageAgency": "Prime Video",
"nprStoryId": "1226666037",
"nprByline": "Linda Holmes",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jan 2024 07:00:00 -0500",
"path": "/arts/13950974/nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950422",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/whHb3ClSdrQ'\n title='//www.youtube.com/embed/whHb3ClSdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\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>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\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=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950974/nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"authors": [
"byline_arts_13950974"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_5391",
"arts_10521",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950975",
"label": "arts_137"
},
"arts_13950553": {
"type": "posts",
"id": "arts_13950553",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950553",
"score": null,
"sort": [
1705604012000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1705604012,
"format": "standard",
"title": "Grammys 2024: How to Watch, Who’s Nominated, and Other Key Things to Know",
"headTitle": "Grammys 2024: How to Watch, Who’s Nominated, and Other Key Things to Know | KQED",
"content": "\u003cp>The 2024 Grammy Awards are fast approaching — and it is never too early to plan your viewing experience.\u003c/p>\n\u003cp>The 66th annual Grammy Awards will take place Sunday, Feb. 4, at the Crypto.com Arena in Los Angeles.\u003c/p>\n\u003cp>Most of the awards are handed out before that during the Premiere Ceremony, which the Recording Academy will stream live Feb. 4 ahead of the telecast, which starts at 5 p.m.\u003c/p>\n\u003cp>Here’s what you need to know about watching the 2024 Grammys, including how to stream and where you can see music’s biggest stars walking the red carpet.\u003c/p>\n\u003ch2>Who’s Hosting?\u003c/h2>\n\u003cfigure id=\"attachment_13950555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1463273259-scaled-e1705603250438.jpg\" alt=\"A Black man in a white tuxedo stands among tables full of people, speaking into a microphone.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Trevor Noah during the 65th Grammy Awards, Feb. 2023. \u003ccite>(Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Grammy-nominated comedian Trevor Noah will once again host, marking his fourth consecutive year on the job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Noah is also up for a Grammy this year, receiving his second nomination for best comedy album.\u003c/p>\n\u003cp>He’s also a newly-minted Emmy winner, with his final season of \u003cem>The Daily Show\u003c/em> taking home the award for outstanding talk series at Monday’s show.\u003c/p>\n\u003ch2>How can I watch the Grammys?\u003c/h2>\n\u003cp>The main show will air live on CBS and Paramount+ beginning at 5 p.m. Paramount+ with Showtime subscribers can also watch live and on demand. Paramount+ Essential subscribers will be able to stream the Grammy Awards the day after the ceremony\u003c/p>\n\u003cp>The Grammys can also be watched through live TV streaming services that include CBS in their lineup, like Hulu + Live TV, YouTube TV and FuboTV.\u003c/p>\n\u003ch2>How can I watch the red carpet?\u003c/h2>\n\u003cp>E! will host its \u003cem>Live from the Grammys Carpet\u003c/em> show with its mix of fashion coverage and celebrity interviews.\u003c/p>\n\u003cp>The Associated Press will also stream a three-hour red carpet show with interviews and fashion footage. It will be streamed on YouTube, Twitter and APNews.com.\u003c/p>\n\u003ch2>Who’s nominated this year?\u003c/h2>\n\u003cfigure id=\"attachment_13917249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002.jpg\" alt=\"A Black woman stands behind a microphone stand on stage. She is dancing and smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SZA enters the Grammys with a leading nine nominations. “Kill Bill,” her revenge anthem cloaked in an R&B ballad, earned her nods for record of the year, song of the year, and best R&B performance. \u003cem>SOS\u003c/em> is also up for album of the year and best progressive R&B album. The 2024 ceremony is the second time SZA has been nominated for record, album, and song in the same year.\u003c/p>\n\u003cp>[aside postid='arts_13950384']Victoria Monét and Phoebe Bridgers have the second-most nominations, with seven. Six of Bridgers’ are with her band boygenius. Taylor Swift, Olivia Rodrigo, Miley Cyrus, Billie Eilish, Brandy Clark, Jon Batiste and producer Jack Antonoff also earned six.\u003c/p>\n\u003cp>Monét is the only leading nominee also up for best new artist, in a category that is rounded out by Gracie Abrams, Fred again.., Ice Spice, Jelly Roll, Coco Jones, Noah Kahan and The War and Treaty.\u003c/p>\n\u003ch2>Who’s performing?\u003c/h2>\n\u003cp>The Recording Academy says Grammy award winners and current nominees Billie Eilish, Olivia Rodrigo, and Dua Lipa will perform on Feb. 4. More performers have yet to be announced.\u003c/p>\n\u003cp>All three have previously won in the best new artist category. Eilish has seven Grammys and is up for six this year. Lipa and Rodrigo both have three Grammys; Lipa is nominated for two awards and Rodrigo is nominated for six.\u003c/p>\n\u003ch2>What’s new with the Grammys in 2024?\u003c/h2>\n\u003cp>In June, the Recording Academy announced that the Grammys would add three new categories to its 2024 award show: best pop dance recording, best African music performance, and best alternative jazz album.\u003c/p>\n\u003cp>[aside postid='arts_13940099']The new best African music performance category will highlight “regional melodic, harmonic and rhythmic musical traditions,” according to a Recording Academy press release, including genres like Afrobeat, Afro-fusion, Afro Pop, Afro-House, South African Hip-Hop, and Ethio Jazz. Before the addition, those artists would compete in the best global music performance category, first introduced in 2022.\u003c/p>\n\u003cp>Another notable change: the Academy announced “only human creators” could win the music industry’s highest honor in a decision aimed at the use of artificial intelligence in popular music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Here’s the super easy, headline statement: AI, or music that contains AI-created elements is absolutely eligible for entry and for consideration for Grammy nomination. Period,” Recording Academy CEO and President Harvey Mason jr. told AP at the time. “What’s not going to happen is we are not going to give a Grammy or Grammy nomination to the AI portion.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 772,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705604012,
"excerpt": "The 66th annual Grammy Awards will take place on Sunday, Feb. 4, in Los Angeles. Trevor Noah is hosting.",
"headData": {
"twImgId": "",
"twTitle": "Grammys 2024: How to Watch, Who’s Nominated, and Other Key Things to Know",
"socialTitle": "Where to Watch This Year’s Grammys %%page%% %%sep%% KQED",
"ogTitle": "Grammys 2024: How to Watch, Who’s Nominated, and Other Key Things to Know",
"ogImgId": "",
"twDescription": "",
"description": "The 66th annual Grammy Awards will take place on Sunday, Feb. 4, in Los Angeles. Trevor Noah is hosting.",
"title": "Where to Watch This Year’s Grammys | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Grammys 2024: How to Watch, Who’s Nominated, and Other Key Things to Know",
"datePublished": "2024-01-18T10:53:32-08:00",
"dateModified": "2024-01-18T10:53:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "grammys-2024-how-to-watch-whos-nominated-and-other-key-things-to-know",
"status": "publish",
"templateType": "standard",
"nprByline": "Maria Sherman, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13950553/grammys-2024-how-to-watch-whos-nominated-and-other-key-things-to-know",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Grammy Awards are fast approaching — and it is never too early to plan your viewing experience.\u003c/p>\n\u003cp>The 66th annual Grammy Awards will take place Sunday, Feb. 4, at the Crypto.com Arena in Los Angeles.\u003c/p>\n\u003cp>Most of the awards are handed out before that during the Premiere Ceremony, which the Recording Academy will stream live Feb. 4 ahead of the telecast, which starts at 5 p.m.\u003c/p>\n\u003cp>Here’s what you need to know about watching the 2024 Grammys, including how to stream and where you can see music’s biggest stars walking the red carpet.\u003c/p>\n\u003ch2>Who’s Hosting?\u003c/h2>\n\u003cfigure id=\"attachment_13950555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1463273259-scaled-e1705603250438.jpg\" alt=\"A Black man in a white tuxedo stands among tables full of people, speaking into a microphone.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Trevor Noah during the 65th Grammy Awards, Feb. 2023. \u003ccite>(Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Grammy-nominated comedian Trevor Noah will once again host, marking his fourth consecutive year on the job.\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>Noah is also up for a Grammy this year, receiving his second nomination for best comedy album.\u003c/p>\n\u003cp>He’s also a newly-minted Emmy winner, with his final season of \u003cem>The Daily Show\u003c/em> taking home the award for outstanding talk series at Monday’s show.\u003c/p>\n\u003ch2>How can I watch the Grammys?\u003c/h2>\n\u003cp>The main show will air live on CBS and Paramount+ beginning at 5 p.m. Paramount+ with Showtime subscribers can also watch live and on demand. Paramount+ Essential subscribers will be able to stream the Grammy Awards the day after the ceremony\u003c/p>\n\u003cp>The Grammys can also be watched through live TV streaming services that include CBS in their lineup, like Hulu + Live TV, YouTube TV and FuboTV.\u003c/p>\n\u003ch2>How can I watch the red carpet?\u003c/h2>\n\u003cp>E! will host its \u003cem>Live from the Grammys Carpet\u003c/em> show with its mix of fashion coverage and celebrity interviews.\u003c/p>\n\u003cp>The Associated Press will also stream a three-hour red carpet show with interviews and fashion footage. It will be streamed on YouTube, Twitter and APNews.com.\u003c/p>\n\u003ch2>Who’s nominated this year?\u003c/h2>\n\u003cfigure id=\"attachment_13917249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002.jpg\" alt=\"A Black woman stands behind a microphone stand on stage. She is dancing and smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SZA enters the Grammys with a leading nine nominations. “Kill Bill,” her revenge anthem cloaked in an R&B ballad, earned her nods for record of the year, song of the year, and best R&B performance. \u003cem>SOS\u003c/em> is also up for album of the year and best progressive R&B album. The 2024 ceremony is the second time SZA has been nominated for record, album, and song in the same year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950384",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Victoria Monét and Phoebe Bridgers have the second-most nominations, with seven. Six of Bridgers’ are with her band boygenius. Taylor Swift, Olivia Rodrigo, Miley Cyrus, Billie Eilish, Brandy Clark, Jon Batiste and producer Jack Antonoff also earned six.\u003c/p>\n\u003cp>Monét is the only leading nominee also up for best new artist, in a category that is rounded out by Gracie Abrams, Fred again.., Ice Spice, Jelly Roll, Coco Jones, Noah Kahan and The War and Treaty.\u003c/p>\n\u003ch2>Who’s performing?\u003c/h2>\n\u003cp>The Recording Academy says Grammy award winners and current nominees Billie Eilish, Olivia Rodrigo, and Dua Lipa will perform on Feb. 4. More performers have yet to be announced.\u003c/p>\n\u003cp>All three have previously won in the best new artist category. Eilish has seven Grammys and is up for six this year. Lipa and Rodrigo both have three Grammys; Lipa is nominated for two awards and Rodrigo is nominated for six.\u003c/p>\n\u003ch2>What’s new with the Grammys in 2024?\u003c/h2>\n\u003cp>In June, the Recording Academy announced that the Grammys would add three new categories to its 2024 award show: best pop dance recording, best African music performance, and best alternative jazz album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940099",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The new best African music performance category will highlight “regional melodic, harmonic and rhythmic musical traditions,” according to a Recording Academy press release, including genres like Afrobeat, Afro-fusion, Afro Pop, Afro-House, South African Hip-Hop, and Ethio Jazz. Before the addition, those artists would compete in the best global music performance category, first introduced in 2022.\u003c/p>\n\u003cp>Another notable change: the Academy announced “only human creators” could win the music industry’s highest honor in a decision aimed at the use of artificial intelligence in popular music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Here’s the super easy, headline statement: AI, or music that contains AI-created elements is absolutely eligible for entry and for consideration for Grammy nomination. Period,” Recording Academy CEO and President Harvey Mason jr. told AP at the time. “What’s not going to happen is we are not going to give a Grammy or Grammy nomination to the AI portion.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950553/grammys-2024-how-to-watch-whos-nominated-and-other-key-things-to-know",
"authors": [
"byline_arts_13950553"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_990"
],
"tags": [
"arts_9943",
"arts_8417",
"arts_1685",
"arts_585"
],
"featImg": "arts_13873913",
"label": "arts_140"
},
"arts_13950422": {
"type": "posts",
"id": "arts_13950422",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950422",
"score": null,
"sort": [
1705437042000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1705437042,
"format": "standard",
"title": "High-Power Detectives Clash Over a Questionable Conviction in ‘Criminal Record’",
"headTitle": "High-Power Detectives Clash Over a Questionable Conviction in ‘Criminal Record’ | KQED",
"content": "\u003cp>In the third of \u003cem>The Godfather\u003c/em> movies, the aging Michael Corleone is trying to rein in his young nephew Vincent, a hothead who’s burning to murder some guy who crossed him. “Never hate your enemies,” Michael tells him sagely, “It clouds your judgment.”\u003c/p>\n\u003cp>This philosophy gets put to the test in \u003cem>Criminal Record\u003c/em>, an enjoyable new crime series on AppleTV+, about two smart, driven London cops who become archrivals. It stars two of the best British actors on TV: Cush Jumbo, whom you’ll know as Lucca Quinn on \u003ca href=\"https://www.npr.org/2016/05/09/477330290/7-years-later-good-wife-ends-as-it-began-with-betrayal-and-uncertainty\">\u003cem>The Good Wife\u003c/em>\u003c/a> and \u003cem>The Good Fight\u003c/em>, and Peter Capaldi, of \u003ca href=\"https://www.npr.org/2017/12/25/573415852/doctor-who-says-goodbye-to-peter-capaldi-as-show-prepares-for-first-female-docto\">\u003cem>Doctor Who\u003c/em>\u003c/a> and \u003cem>The Thick of It\u003c/em> fame. Their characters wage a battle that goes beyond the simply personal to touch on questions about the ethics, and politics, of police work.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Jumbo plays Detective Sergeant June Lenker, a biracial woman in a largely white police station. She overhears an emergency call in which a terrified woman says that her boyfriend bragged about once killing another woman and getting away with it — the wrong man has been imprisoned for the crime. Taking this claim seriously, June checks the records and decides the victim of this injustice is a Black man named Errol Mathis.\u003c/p>\n\u003cp>Doing her due diligence, she visits the officer who handled the original case a decade ago. That’s Capaldi’s character, Det. Chief Inspector Daniel Hegarty, a man as self-contained and calculating as June is headlong and passionate. Bridling at her implication that he might’ve jailed an innocent man, he scoffs at her impulsiveness in reading so much into an anonymous call.\u003c/p>\n\u003cp>Naturally, the two take an instant dislike to one another, and over the next seven episodes, they wage guerrilla war. Convinced Hegarty is not telling the truth, June secretly throws herself into the Mathis case in ways that violate department protocol; meanwhile Hegarty uses his wiles — and dodgy underlings — to stop her from finding information that will cause him trouble. Knowing she’s over-eager, he places snares in her path to discredit her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G_sohSQWHvg\u003c/p>\n\u003cp>Like so many cop shows these days, \u003cem>Criminal Record\u003c/em> aspires to being more than an ordinary police procedural. To that end, both of its antagonists must deal with confusing personal lives. While Hegarty wrangles a troubled daughter and reckless cronies, June often feels stranded. At home, she has a nice white husband who doesn’t always see his own unconscious biases. At work, she’s treated with various degrees of bigotry by old-school white male cops; meanwhile, some fellow Black officers allege June is being favored because of her lighter skin.\u003c/p>\n\u003cp>Now, I’d like to be able to say that \u003cem>Criminal Record\u003c/em> offers the revelatory vividness of acclaimed hits like \u003ca href=\"https://www.npr.org/2023/05/23/1177647906/happy-valley-review\">\u003cem>Happy Valley\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>, but, in fact, the show’s creator, Paul Rutman, doesn’t dig as deep as he should. He touches on tricky themes, like white supremacist cops, then drops them without fully playing out their implications.\u003c/p>\n\u003cp>[aside postid='arts_13940076']But the show is elevated by its leads. Jumbo is a charismatically sleek actress who’s sturdy enough to hold her own with Capaldi, a cagey old scene stealer who revels in the chance to play an unreadable tactician like Hegarty. Where Jumbo’s June carries her integrity like a flaming torch, it’s less clear what we’re to make of the hatchet-faced Hegarty, whose air of poised mastery feels like an attempt to contain chaos. He’s the more interesting character because we don’t know what makes him tick. Is he corrupt? Is he a racist who treated Mathis unjustly because he’s Black? Or could he simply be protecting his reputation for being a great detective?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As usually happens in crime stories, the climax is not wholly satisfying — the twists are too neatly tied. \u003cem>Criminal Record\u003c/em> hits its peak in the middle episodes when both June and Hegarty are at their most frazzled and devious. While hatred may indeed cloud a person’s judgment, a story is always more fun when its antagonists crackle with genuine dislike.\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=High-power+detectives+clash+over+a+questionable+conviction+in+%27Criminal+Record%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 728,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705435378,
"excerpt": "This UK miniseries centers on an old murder case that may need to be reopened. The two antagonists crackle with genuine dislike.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "‘Criminal Record’ Review: AppleTV+ Show Pits Cop Against Cop %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This UK miniseries centers on an old murder case that may need to be reopened. The two antagonists crackle with genuine dislike.",
"title": "‘Criminal Record’ Review: AppleTV+ Show Pits Cop Against Cop | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "High-Power Detectives Clash Over a Questionable Conviction in ‘Criminal Record’",
"datePublished": "2024-01-16T12:30:42-08:00",
"dateModified": "2024-01-16T12:02:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "criminal-record-appletv-peter-capaldi-cush-jumbo-uk-police-series",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1224406290&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 16 Jan 2024 12:55:21 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 16 Jan 2024 12:55:35 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/16/1224406290/criminal-record-review-cush-jumbo?ft=nprml&f=1224406290",
"nprAudio": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240116_fa_b3e69637-2b04-44ad-adb4-16ef69fd8698.mp3?orgId=427869011&topicId=1163&d=420&p=13&story=1224406290&ft=nprml&f=1224406290",
"nprImageAgency": "AppleTV+",
"nprAudioM3u": "http://api.npr.org/m3u/11224995268-7722dc.m3u?orgId=427869011&topicId=1163&d=420&p=13&story=1224406290&ft=nprml&f=1224406290",
"nprStoryId": "1224406290",
"nprByline": "John Powers",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 16 Jan 2024 14:28:00 -0500",
"path": "/arts/13950422/criminal-record-appletv-peter-capaldi-cush-jumbo-uk-police-series",
"audioUrl": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240116_fa_b3e69637-2b04-44ad-adb4-16ef69fd8698.mp3?orgId=427869011&topicId=1163&d=420&p=13&story=1224406290&ft=nprml&f=1224406290",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the third of \u003cem>The Godfather\u003c/em> movies, the aging Michael Corleone is trying to rein in his young nephew Vincent, a hothead who’s burning to murder some guy who crossed him. “Never hate your enemies,” Michael tells him sagely, “It clouds your judgment.”\u003c/p>\n\u003cp>This philosophy gets put to the test in \u003cem>Criminal Record\u003c/em>, an enjoyable new crime series on AppleTV+, about two smart, driven London cops who become archrivals. It stars two of the best British actors on TV: Cush Jumbo, whom you’ll know as Lucca Quinn on \u003ca href=\"https://www.npr.org/2016/05/09/477330290/7-years-later-good-wife-ends-as-it-began-with-betrayal-and-uncertainty\">\u003cem>The Good Wife\u003c/em>\u003c/a> and \u003cem>The Good Fight\u003c/em>, and Peter Capaldi, of \u003ca href=\"https://www.npr.org/2017/12/25/573415852/doctor-who-says-goodbye-to-peter-capaldi-as-show-prepares-for-first-female-docto\">\u003cem>Doctor Who\u003c/em>\u003c/a> and \u003cem>The Thick of It\u003c/em> fame. Their characters wage a battle that goes beyond the simply personal to touch on questions about the ethics, and politics, of police work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Jumbo plays Detective Sergeant June Lenker, a biracial woman in a largely white police station. She overhears an emergency call in which a terrified woman says that her boyfriend bragged about once killing another woman and getting away with it — the wrong man has been imprisoned for the crime. Taking this claim seriously, June checks the records and decides the victim of this injustice is a Black man named Errol Mathis.\u003c/p>\n\u003cp>Doing her due diligence, she visits the officer who handled the original case a decade ago. That’s Capaldi’s character, Det. Chief Inspector Daniel Hegarty, a man as self-contained and calculating as June is headlong and passionate. Bridling at her implication that he might’ve jailed an innocent man, he scoffs at her impulsiveness in reading so much into an anonymous call.\u003c/p>\n\u003cp>Naturally, the two take an instant dislike to one another, and over the next seven episodes, they wage guerrilla war. Convinced Hegarty is not telling the truth, June secretly throws herself into the Mathis case in ways that violate department protocol; meanwhile Hegarty uses his wiles — and dodgy underlings — to stop her from finding information that will cause him trouble. Knowing she’s over-eager, he places snares in her path to discredit her.\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/G_sohSQWHvg'\n title='//www.youtube.com/embed/G_sohSQWHvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like so many cop shows these days, \u003cem>Criminal Record\u003c/em> aspires to being more than an ordinary police procedural. To that end, both of its antagonists must deal with confusing personal lives. While Hegarty wrangles a troubled daughter and reckless cronies, June often feels stranded. At home, she has a nice white husband who doesn’t always see his own unconscious biases. At work, she’s treated with various degrees of bigotry by old-school white male cops; meanwhile, some fellow Black officers allege June is being favored because of her lighter skin.\u003c/p>\n\u003cp>Now, I’d like to be able to say that \u003cem>Criminal Record\u003c/em> offers the revelatory vividness of acclaimed hits like \u003ca href=\"https://www.npr.org/2023/05/23/1177647906/happy-valley-review\">\u003cem>Happy Valley\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>, but, in fact, the show’s creator, Paul Rutman, doesn’t dig as deep as he should. He touches on tricky themes, like white supremacist cops, then drops them without fully playing out their implications.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But the show is elevated by its leads. Jumbo is a charismatically sleek actress who’s sturdy enough to hold her own with Capaldi, a cagey old scene stealer who revels in the chance to play an unreadable tactician like Hegarty. Where Jumbo’s June carries her integrity like a flaming torch, it’s less clear what we’re to make of the hatchet-faced Hegarty, whose air of poised mastery feels like an attempt to contain chaos. He’s the more interesting character because we don’t know what makes him tick. Is he corrupt? Is he a racist who treated Mathis unjustly because he’s Black? Or could he simply be protecting his reputation for being a great detective?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As usually happens in crime stories, the climax is not wholly satisfying — the twists are too neatly tied. \u003cem>Criminal Record\u003c/em> hits its peak in the middle episodes when both June and Hegarty are at their most frazzled and devious. While hatred may indeed cloud a person’s judgment, a story is always more fun when its antagonists crackle with genuine dislike.\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=High-power+detectives+clash+over+a+questionable+conviction+in+%27Criminal+Record%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950422/criminal-record-appletv-peter-capaldi-cush-jumbo-uk-police-series",
"authors": [
"byline_arts_13950422"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_585",
"arts_5292"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950423",
"label": "arts_140"
},
"arts_13950384": {
"type": "posts",
"id": "arts_13950384",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950384",
"score": null,
"sort": [
1705400019000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1705400019,
"format": "standard",
"title": "Six Takeaways From the Return of the Emmys",
"headTitle": "Six Takeaways From the Return of the Emmys | KQED",
"content": "\u003cp>The 75th Emmy Awards offered up nothing in the way of real surprise; practically every prize went to the frontrunner. Perhaps the closest the night came to a moment worth an eyebrow-raise was the In Memoriam segment that included a mournful rendition of the \u003cem>Friends \u003c/em>theme song. Obviously, a very well-meaning attempt to recognize Matthew Perry, but that is not a song that translates into tears. The delay of this ceremony from September to now also meant that a lot of these frontrunners are fresh off Golden Globe and Critics’ Choice awards, making their wins seem even a little more obvious.\u003c/p>\n\u003cp>Still, like every Emmy night, there were some notable developments.\u003c/p>\n\u003cp>1. Three big shows dominated the major categories given out Monday night: \u003cem>Succession \u003c/em>in drama, \u003cem>The Bear \u003c/em>in comedy, and \u003cem>Beef \u003c/em>in limited series. All three won the big prize in their category as best series. All three won both directing and writing awards. All three won multiple acting awards — two for \u003cem>Beef \u003c/em>(its two leads), three for \u003cem>The Bear \u003c/em>(its three principals), and three for \u003cem>Succession \u003c/em>(three members of its gazillion-person cast). Only four wins out of the 21 handed out in these three categories went to any other shows: Jennifer Coolidge for \u003cem>The White Lotus\u003c/em>, Paul Walter Hauser for \u003cem>Black Bird\u003c/em>, Quinta Brunson for \u003cem>Abbott Elementary\u003c/em> and Niecy Nash-Betts for \u003cem>Dahmer — Monster: The Jeffrey Dahmer Story\u003c/em>. It seemed like maybe \u003cem>Ted Lasso \u003c/em>might be in the race for its (likely) final season, or \u003cem>The Last Of Us \u003c/em>might make a strong showing for its adaptation of a stunning video game. But it was not to be. This was a night for the favorites to fully dominate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vbmxLOnrRbU\u003c/p>\n\u003cp>2. Coolidge’s win for her supporting work in \u003cem>The White Lotus \u003c/em>wasn’t unexpected, given that she won last year, but along with the rest of the night, it did come as a real blow to \u003cem>Better Call Saul \u003c/em>fans, myself included. Many people who hoped against hope that Rhea Seehorn would win the trophy in her last shot for the work she did as Kim Wexler. In fact, \u003cem>Saul\u003c/em> — a show a lot of its admirers think is better than \u003cem>Breaking Bad\u003c/em>, from which it was spun off — won no Emmys at all. It ends an acclaimed six-season run with 53 nominations and no awards. Perhaps that’s only fitting for a show that’s about a bottom-feeder and repeat loser like Jimmy McGill, but those who know, know. \u003cem>Especially\u003c/em> about Rhea Seehorn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k_wz0SEH6Vg\u003c/p>\n\u003cp>3. In place of the orchestra playing people off to trim runaway speeches, they decided this year to have host Anthony Anderson’s mother stand up in the audience and start yelling at them. The moment she did it to Jennifer Coolidge, it was more than clear that this was going to be terribly awkward. The producers didn’t continue with it, fortunately. It’s not clear whether they ever intended to. Perhaps they didn’t, or perhaps they instantly realized it was not going to land the way they hoped. Seriously, just play the music.[aside postid='arts_13940099']\u003c/p>\n\u003cp>4. It’s often been the case that awards shows include a good number of Black actors as presenters, or as hosts like Anderson, but then don’t actually reward their work. Not so with these Emmys. Three of the first four women to take the stage as winners — Ayo Edebiri, Quinta Brunson, and Niecy Nash-Betts — were Black, and the ceremony’s look back at 75 years of Emmys included beloved icons like Arsenio Hall and Marla Gibbs as well as influential shows like \u003cem>Good Times\u003c/em> and \u003cem>Martin\u003c/em>. Anderson called it “like MLK Day and Juneteenth rolled into one.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOJNgHgKnFs\u003c/p>\n\u003cp>5. Most coverage of the Emmys goes to a handful of major categories, but there’s always plenty going on up and down the list. One story of note: With a win for his special \u003cem>Elton John Live: Farewell from Dodger Stadium\u003c/em>, Elton John reached a made-up status that it’s hard not to admire anyway — the EGOT.\u003c/p>\n\u003cp>6. At the 75th Emmys, it made sense to do a lot of remembering of the TV of the past. Some of this worked really well, like getting to see old sets (or rough approximations of old sets) or reunions, like the one between Rob Reiner and Sally Struthers. Some of it was a little effortful, like Anderson doing a skit with Dylan McDermott about \u003cem>American Horror Story\u003c/em>. But on a generous curve of how “and now, we salute television!” stuff usually goes, it gets a solid B-plus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UANVcCKl_Ck\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=Six+takeaways+from+the+return+of+the+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 830,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705401358,
"excerpt": "The 75th Emmy Awards offered up nothing in the way of real surprise. ‘Succession,’ ‘The Bear’ and ‘Beef’ all dominated.",
"headData": {
"twImgId": "",
"twTitle": "Six Takeaways From the Return of the Emmys",
"socialTitle": "Emmy Awards 2024: Winners, Losers and a Heap of TV Nostalgia %%page%% %%sep%% KQED",
"ogTitle": "Six Takeaways From the Return of the Emmys",
"ogImgId": "",
"twDescription": "",
"description": "The 75th Emmy Awards offered up nothing in the way of real surprise. ‘Succession,’ ‘The Bear’ and ‘Beef’ all dominated.",
"title": "Emmy Awards 2024: Winners, Losers and a Heap of TV Nostalgia | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Six Takeaways From the Return of the Emmys",
"datePublished": "2024-01-16T02:13:39-08:00",
"dateModified": "2024-01-16T02:35:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "six-takeaways-from-the-return-of-the-emmys",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1224865471&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 16 Jan 2024 01:00:00 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 16 Jan 2024 01:29:31 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear?ft=nprml&f=1224865471",
"nprImageAgency": "Getty Images",
"nprStoryId": "1224865471",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "Kevin Winter",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 16 Jan 2024 01:29:00 -0500",
"path": "/arts/13950384/six-takeaways-from-the-return-of-the-emmys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 75th Emmy Awards offered up nothing in the way of real surprise; practically every prize went to the frontrunner. Perhaps the closest the night came to a moment worth an eyebrow-raise was the In Memoriam segment that included a mournful rendition of the \u003cem>Friends \u003c/em>theme song. Obviously, a very well-meaning attempt to recognize Matthew Perry, but that is not a song that translates into tears. The delay of this ceremony from September to now also meant that a lot of these frontrunners are fresh off Golden Globe and Critics’ Choice awards, making their wins seem even a little more obvious.\u003c/p>\n\u003cp>Still, like every Emmy night, there were some notable developments.\u003c/p>\n\u003cp>1. Three big shows dominated the major categories given out Monday night: \u003cem>Succession \u003c/em>in drama, \u003cem>The Bear \u003c/em>in comedy, and \u003cem>Beef \u003c/em>in limited series. All three won the big prize in their category as best series. All three won both directing and writing awards. All three won multiple acting awards — two for \u003cem>Beef \u003c/em>(its two leads), three for \u003cem>The Bear \u003c/em>(its three principals), and three for \u003cem>Succession \u003c/em>(three members of its gazillion-person cast). Only four wins out of the 21 handed out in these three categories went to any other shows: Jennifer Coolidge for \u003cem>The White Lotus\u003c/em>, Paul Walter Hauser for \u003cem>Black Bird\u003c/em>, Quinta Brunson for \u003cem>Abbott Elementary\u003c/em> and Niecy Nash-Betts for \u003cem>Dahmer — Monster: The Jeffrey Dahmer Story\u003c/em>. It seemed like maybe \u003cem>Ted Lasso \u003c/em>might be in the race for its (likely) final season, or \u003cem>The Last Of Us \u003c/em>might make a strong showing for its adaptation of a stunning video game. But it was not to be. This was a night for the favorites to fully dominate.\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/vbmxLOnrRbU'\n title='//www.youtube.com/embed/vbmxLOnrRbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. Coolidge’s win for her supporting work in \u003cem>The White Lotus \u003c/em>wasn’t unexpected, given that she won last year, but along with the rest of the night, it did come as a real blow to \u003cem>Better Call Saul \u003c/em>fans, myself included. Many people who hoped against hope that Rhea Seehorn would win the trophy in her last shot for the work she did as Kim Wexler. In fact, \u003cem>Saul\u003c/em> — a show a lot of its admirers think is better than \u003cem>Breaking Bad\u003c/em>, from which it was spun off — won no Emmys at all. It ends an acclaimed six-season run with 53 nominations and no awards. Perhaps that’s only fitting for a show that’s about a bottom-feeder and repeat loser like Jimmy McGill, but those who know, know. \u003cem>Especially\u003c/em> about Rhea Seehorn.\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/k_wz0SEH6Vg'\n title='//www.youtube.com/embed/k_wz0SEH6Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>3. In place of the orchestra playing people off to trim runaway speeches, they decided this year to have host Anthony Anderson’s mother stand up in the audience and start yelling at them. The moment she did it to Jennifer Coolidge, it was more than clear that this was going to be terribly awkward. The producers didn’t continue with it, fortunately. It’s not clear whether they ever intended to. Perhaps they didn’t, or perhaps they instantly realized it was not going to land the way they hoped. Seriously, just play the music.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940099",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4. It’s often been the case that awards shows include a good number of Black actors as presenters, or as hosts like Anderson, but then don’t actually reward their work. Not so with these Emmys. Three of the first four women to take the stage as winners — Ayo Edebiri, Quinta Brunson, and Niecy Nash-Betts — were Black, and the ceremony’s look back at 75 years of Emmys included beloved icons like Arsenio Hall and Marla Gibbs as well as influential shows like \u003cem>Good Times\u003c/em> and \u003cem>Martin\u003c/em>. Anderson called it “like MLK Day and Juneteenth rolled into one.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jOJNgHgKnFs'\n title='//www.youtube.com/embed/jOJNgHgKnFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5. Most coverage of the Emmys goes to a handful of major categories, but there’s always plenty going on up and down the list. One story of note: With a win for his special \u003cem>Elton John Live: Farewell from Dodger Stadium\u003c/em>, Elton John reached a made-up status that it’s hard not to admire anyway — the EGOT.\u003c/p>\n\u003cp>6. At the 75th Emmys, it made sense to do a lot of remembering of the TV of the past. Some of this worked really well, like getting to see old sets (or rough approximations of old sets) or reunions, like the one between Rob Reiner and Sally Struthers. Some of it was a little effortful, like Anderson doing a skit with Dylan McDermott about \u003cem>American Horror Story\u003c/em>. But on a generous curve of how “and now, we salute television!” stuff usually goes, it gets a solid B-plus.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UANVcCKl_Ck'\n title='//www.youtube.com/embed/UANVcCKl_Ck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+takeaways+from+the+return+of+the+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950384/six-takeaways-from-the-return-of-the-emmys",
"authors": [
"byline_arts_13950384"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_8417"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950385",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 192,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1039,
"relation": "eq"
},
"items": [
"arts_13952134",
"arts_13952077",
"arts_13951739",
"arts_13951374",
"arts_13951349",
"arts_13951218",
"arts_13951126",
"arts_13951067",
"arts_13950974",
"arts_13950553",
"arts_13950422",
"arts_13950384"
],
"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_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_4949": {
"type": "terms",
"id": "arts_4949",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4949",
"found": true
},
"relationships": {},
"featImg": null,
"name": "election",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "election Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4961,
"slug": "election",
"isLoading": false,
"link": "/arts/tag/election"
},
"arts_8805": {
"type": "terms",
"id": "arts_8805",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8805",
"found": true
},
"relationships": {},
"featImg": null,
"name": "late night",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "late night Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8817,
"slug": "late-night",
"isLoading": false,
"link": "/arts/tag/late-night"
},
"arts_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_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_21823": {
"type": "terms",
"id": "arts_21823",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21823",
"found": true
},
"relationships": {},
"featImg": null,
"name": "2024",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "2024 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21835,
"slug": "2024",
"isLoading": false,
"link": "/arts/tag/2024"
},
"arts_3842": {
"type": "terms",
"id": "arts_3842",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3842",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Super Bowl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Super Bowl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3854,
"slug": "super-bowl",
"isLoading": false,
"link": "/arts/tag/super-bowl"
},
"arts_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"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_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_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"arts_21913": {
"type": "terms",
"id": "arts_21913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reboot",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reboot Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21925,
"slug": "reboot",
"isLoading": false,
"link": "/arts/tag/reboot"
},
"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_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_21912": {
"type": "terms",
"id": "arts_21912",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21912",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Malcolm X",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Malcolm X Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21924,
"slug": "malcolm-x",
"isLoading": false,
"link": "/arts/tag/malcolm-x"
},
"arts_7102": {
"type": "terms",
"id": "arts_7102",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7102",
"found": true
},
"relationships": {},
"featImg": null,
"name": "MLK",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "MLK Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7114,
"slug": "mlk",
"isLoading": false,
"link": "/arts/tag/mlk"
},
"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_21901": {
"type": "terms",
"id": "arts_21901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truman Capote",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truman Capote Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21913,
"slug": "truman-capote",
"isLoading": false,
"link": "/arts/tag/truman-capote"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_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_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_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_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
},
"arts_5391": {
"type": "terms",
"id": "arts_5391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "china",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "china Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5403,
"slug": "china",
"isLoading": false,
"link": "/arts/tag/china"
},
"arts_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_8417": {
"type": "terms",
"id": "arts_8417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8429,
"slug": "awards-shows",
"isLoading": false,
"link": "/arts/tag/awards-shows"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
}
},
"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": {}
}
}
}