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_13923591": {
"type": "attachments",
"id": "arts_13923591",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13923591",
"found": true
},
"parent": 13923590,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-160x119.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 119
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-scaled-e1673462561840.jpg",
"width": 1920,
"height": 1422
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-2048x1517.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1517
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-1020x755.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 755
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-1536x1138.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1138
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-1920x1422.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1422
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-800x593.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 593
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1455621472_custom-a55ebe2cc4678ee32eaa4f3177f3f0b139c6157c-768x569.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 569
}
},
"publishDate": 1673461752,
"modified": 1673462612,
"caption": "Ke Huy Quan poses with the Best Supporting Actor in a Motion Picture award for ‘Everything Everywhere All at Once’ during the 80th Annual Golden Globe Awards.",
"description": null,
"title": "Ke Huy Quan poses with the Best Supporting Actor in a Motion Picture award for ‘Everything Everywhere All at Once’ during the 80th Annual Golden Globe Awards.",
"credit": "Amy Sussman/Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13923512": {
"type": "attachments",
"id": "arts_13923512",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13923512",
"found": true
},
"parent": 13923511,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-scaled-e1673377909808.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-1363713236_custom-f51474d60023675f6e35138454d883d24440f472-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1673303254,
"modified": 1673377994,
"caption": "A view of the stage during the 79th Annual Golden Globe Awards at the Beverly Hilton on Jan. 09, 2022.",
"description": "BEVERLY HILLS, CALIFORNIA - JANUARY 09: A view of the stage during the 79th Annual Golden Globe Awards at The Beverly Hilton on January 09, 2022 in Beverly Hills, California. (Photo by Emma McIntyre/Getty Images for Hollywood Foreign Press Association)",
"title": "A view of the stage during the 79th Annual Golden Globe Awards at the Beverly Hilton on Jan. 09, 2022.",
"credit": null,
"status": "inherit",
"altTag": "A stage with a blue backdrop reading GOLDEN GLOBE AWARDS.",
"isLoading": false,
"fetchFailed": false
},
"arts_13923086": {
"type": "attachments",
"id": "arts_13923086",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13923086",
"found": true
},
"parent": 13923085,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-160x107.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-scaled.jpe",
"width": 2560,
"height": 1713
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-2048x1371.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1371
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-1020x683.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 683
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-1536x1028.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1028
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-1920x1285.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1285
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-800x535.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/elon-musk-1_custom-5bafdca264b04653e1497daa1c4f139d513c18fd-768x514.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 514
}
},
"publishDate": 1672251010,
"modified": 1672252717,
"caption": "Nothing this year brought home the dangers in private ownership of major social media platforms more than the capricious, often-destructive and regularly unpredictable actions of Twitter CEO Elon Musk. He is pictured above at Tesla's 'Gigafactory' in Germany on March 22, 2022.\n",
"description": "Tesla CEO Elon Musk is pictured as he attends the start of the production at Tesla's \"Gigafactory\" on March 22, 2022 in Gruenheide, southeast of Berlin. - US electric car pioneer Tesla received the go-ahead for its \"gigafactory\" in Germany on March 4, 2022, paving the way for production to begin shortly after an approval process dogged by delays and setbacks. (Photo by Patrick Pleul / POOL / AFP) (Photo by PATRICK PLEUL/POOL/AFP via Getty Images)",
"title": "Nothing this year brought home the dangers in private ownership of major social media platforms more than the capricious, often-destructive and regularly unpredictable actions of Twitter CEO Elon Musk. He is pictured above at Tesla's \"Gigafactory\" in Germany on March 22, 2022.",
"credit": "Patrick Pleul/AFP via Getty Images",
"status": "inherit",
"altTag": "White man in black suit against black and white vertically striped background",
"isLoading": false,
"fetchFailed": false
},
"arts_13922843": {
"type": "attachments",
"id": "arts_13922843",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922843",
"found": true
},
"parent": 13922842,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-scaled.jpg",
"width": 2560,
"height": 1920
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-139101001-1e583f2094a79654549e425966495d44aa5a124f-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1671472939,
"modified": 1671475550,
"caption": "Angelo Badalamenti in a portrait taken Feb. 9, 1990. The composer, best known for his work with director David Lynch, died Dec. 11, 2022.",
"description": "TWIN PEAKS - Gallery - Shoot Date: February 9, 1990. (Photo by ABC Photo Archives/Disney General Entertainment Content via Getty Images)\nMUSIC COMPOSER ANGELO BADALAMENTI",
"title": "Angelo Badalamenti in a portrait taken Feb. 9, 1990. The composer, best known for his work with director David Lynch, died Dec. 11, 2022.",
"credit": "ABC Photo Archives/Disney General Entertainment Content via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13922581": {
"type": "attachments",
"id": "arts_13922581",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922581",
"found": true
},
"parent": 13922580,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-scaled-e1670615487450.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-1245453815-91075809c1a676343306c741619c7bb726c0b35b-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1670614939,
"modified": 1670615617,
"caption": "A woman watches an episode of the newly released Netflix docuseries ‘Harry & Meghan,’ about Britain's Prince Harry, Duke of Sussex, and Meghan, Duchess of Sussex, in London on Thursday.",
"description": null,
"title": "A woman watches an episode of the newly released Netflix docuseries ‘Harry & Meghan,’ about Britain's Prince Harry, Duke of Sussex, and Meghan, Duchess of Sussex, in London on Thursday.",
"credit": "DANIEL LEAL/AFP via Getty Images",
"status": "inherit",
"altTag": "A wall-mounted television with an image of Prince Harry and Meghan Markle on it, in an average living room.",
"isLoading": false,
"fetchFailed": false
},
"arts_13922333": {
"type": "attachments",
"id": "arts_13922333",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922333",
"found": true
},
"parent": 13922327,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath.jpg",
"width": 1020,
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1670260815,
"modified": 1670260875,
"caption": "Bob McGrath, the longtime, original cast member of the iconic children's show 'Sesame Street,' died on Sunday.",
"description": null,
"title": "BobMcGrath",
"credit": "Larry Busacca/Getty Images for AFTRA",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13922248": {
"type": "attachments",
"id": "arts_13922248",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922248",
"found": true
},
"parent": 13922234,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001.jpg",
"width": 1095,
"height": 730
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/image001-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1669942793,
"modified": 1669974450,
"caption": "George Jones (Michael Shannon) and Tammy Wynette (Jessica Chastain) share an idyllic moment in the studio before the chaos erupts again.",
"description": null,
"title": "George Jones (Michael Shannon) and Tammy Wynette (Jessica Chastain) share an idyllic moment in the studio before the chaos erupts again.",
"credit": "Dana Hawley/Courtesy of SHOWTIME",
"status": "inherit",
"altTag": "A man with short dark hair, wearing a dark sweater faces a smiling blonde woman in a pink and white dress. They gaze at each other lovingly with a studio microphone hanging over their heads.",
"isLoading": false,
"fetchFailed": false
},
"arts_13922029": {
"type": "attachments",
"id": "arts_13922029",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922029",
"found": true
},
"parent": 13922004,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-e1669690297288.png",
"width": 1920,
"height": 1194
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-2048x1274.png",
"width": 2048,
"mimeType": "image/png",
"height": 1274
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1020x635.png",
"width": 1020,
"mimeType": "image/png",
"height": 635
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1536x956.png",
"width": 1536,
"mimeType": "image/png",
"height": 956
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-1920x1194.png",
"width": 1920,
"mimeType": "image/png",
"height": 1194
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-800x498.png",
"width": 800,
"mimeType": "image/png",
"height": 498
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-Wink-white-768x478.png",
"width": 768,
"mimeType": "image/png",
"height": 478
}
},
"publishDate": 1669690233,
"modified": 1669749361,
"caption": "Have you heard the good news about our lord and savior Jesus Christ? Hold onto your britches because you're about to!",
"description": null,
"title": "Have you heard the good news about our lord and savior Jesus Christ? Hold onto your britches because you're about to!",
"credit": null,
"status": "inherit",
"altTag": "Dolly Parton stands wearing a white dress, surrounded by falling snow, gazing upwards towards the camera. She is winking, a bright light covering her closed eyelid.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921930": {
"type": "attachments",
"id": "arts_13921930",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921930",
"found": true
},
"parent": 13921929,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-scaled-e1669229250958.jpg",
"width": 1920,
"height": 1079
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-2048x1151.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1151
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1536x863.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 863
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/pgm-ff-000840_wide-df36792f21b243217c6516b3393489308d9f8128-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1669228981,
"modified": 1669229393,
"caption": "Piping? Hot! (L-R): ISB Supervisor Blevin (Ben Bailey Smith), Chief Inspector Hyne (Rupert Vansittart) and Syril Karn (Kyle Soller) in ‘Andor.’",
"description": "(L-R): ISB Supervisor Blevin (Ben Bailey Smith), Chief Inspector Hyne (Rupert Vansittart) and Syril Karn (Kyle Soller) in Lucasfilm's ANDOR, exclusively on Disney+. ",
"title": "Piping? Hot! (L-R): ISB Supervisor Blevin (Ben Bailey Smith), Chief Inspector Hyne (Rupert Vansittart) and Syril Karn (Kyle Soller) in ‘Andor.’",
"credit": "Lucasfilm Ltd",
"status": "inherit",
"altTag": "One man in uniform glares at another more nervous looking man in uniform. A third older man in uniform stands behind them both, looking off into the distance.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921867": {
"type": "attachments",
"id": "arts_13921867",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921867",
"found": true
},
"parent": 13921866,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-scaled-e1669148581687.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/family-feud-gettyimages-1211998765-2e727b90b4f57990ea7e8e4434f83455899ba25e-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1669145963,
"modified": 1669148688,
"caption": "The OG 'Queer Eye' cast faces off against the Netflix 'Queer Eye' members on 'Celebrity Family Feud.'",
"description": null,
"title": "The OG 'Queer Eye' cast faces off against the Netflix 'Queer Eye' members on 'Celebrity Family Feud.'",
"credit": "Byron Cohen via Getty Images",
"status": "inherit",
"altTag": "The colorful, neon lit set of 'Family Feud' where two long podiums of people face off underneath a big screen.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921605": {
"type": "attachments",
"id": "arts_13921605",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921605",
"found": true
},
"parent": 13921493,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erika-Alexander_cropped-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erika-Alexander_cropped-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erika-Alexander_cropped.jpg",
"width": 990,
"height": 557
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erika-Alexander_cropped-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Erika-Alexander_cropped-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1668499780,
"modified": 1668499812,
"caption": "Erika Alexander attends 'The Big Payback' premiere during the 2022 Tribeca Festival at Village East Cinema in New York City. ",
"description": null,
"title": "Erika-Alexander_cropped",
"credit": "John Lamparski/Getty Images for Tribeca Festival",
"status": "inherit",
"altTag": "a Black woman smiles at a film festival red carpet against a white backdrop",
"isLoading": false,
"fetchFailed": false
},
"arts_13921322": {
"type": "attachments",
"id": "arts_13921322",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921322",
"found": true
},
"parent": 13921321,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-e1667584184145.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/good-night-oppy-563d16751105d6ca147bbcdfd72d47a704494ae8-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1667583024,
"modified": 1667584242,
"caption": "'Good Night Oppy' is a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting.",
"description": null,
"title": "'Good Night Oppy' is a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting.",
"credit": "Courtesy of Prime Video",
"status": "inherit",
"altTag": "A Mars Rover robot explores the red planet.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13923590": {
"type": "authors",
"id": "byline_arts_13923590",
"meta": {
"override": true
},
"slug": "byline_arts_13923590",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13923511": {
"type": "authors",
"id": "byline_arts_13923511",
"meta": {
"override": true
},
"slug": "byline_arts_13923511",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13923085": {
"type": "authors",
"id": "byline_arts_13923085",
"meta": {
"override": true
},
"slug": "byline_arts_13923085",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13922842": {
"type": "authors",
"id": "byline_arts_13922842",
"meta": {
"override": true
},
"slug": "byline_arts_13922842",
"name": "Meaghan Garvey",
"isLoading": false
},
"byline_arts_13922580": {
"type": "authors",
"id": "byline_arts_13922580",
"meta": {
"override": true
},
"slug": "byline_arts_13922580",
"name": "Frank Langfitt",
"isLoading": false
},
"byline_arts_13922327": {
"type": "authors",
"id": "byline_arts_13922327",
"meta": {
"override": true
},
"slug": "byline_arts_13922327",
"name": "Emma Bowman",
"isLoading": false
},
"byline_arts_13921929": {
"type": "authors",
"id": "byline_arts_13921929",
"meta": {
"override": true
},
"slug": "byline_arts_13921929",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13921866": {
"type": "authors",
"id": "byline_arts_13921866",
"meta": {
"override": true
},
"slug": "byline_arts_13921866",
"name": "Arielle Retting",
"isLoading": false
},
"byline_arts_13921321": {
"type": "authors",
"id": "byline_arts_13921321",
"meta": {
"override": true
},
"slug": "byline_arts_13921321",
"name": "Bob Mondello",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"aproehl": {
"type": "authors",
"id": "11296",
"meta": {
"index": "authors_1716337520",
"id": "11296",
"found": true
},
"name": "Ariana Proehl",
"firstName": "Ariana",
"lastName": "Proehl",
"slug": "aproehl",
"email": "aproehl@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Culture Reporter, KQED",
"bio": "Ariana Proehl is a Culture Reporter and Host.",
"avatar": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twitter": "ArianaProehl",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "education",
"roles": []
},
{
"site": "forum",
"roles": []
}
],
"headData": {
"title": "Ariana Proehl | KQED",
"description": "Culture Reporter, KQED",
"ogImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aproehl"
}
},
"pagesReducer": {
"arts_category_tv": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"score": 12.668388
},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"title": "TV",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 26
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 26
}
},
{
"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_13923590": {
"type": "posts",
"id": "arts_13923590",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13923590",
"score": null,
"sort": [
1673462653000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1673462653,
"format": "standard",
"title": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go",
"headTitle": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go | KQED",
"content": "\u003cp>Ke Huy Quan gave the 80th annual Golden Globe awards the redemption moment it so desperately needed.\u003c/p>\n\u003cp>Accepting the very first award of the night, as best supporting actor in a film for his standout work on the action/fantasy/comedy \u003cem>Everything Everywhere All at Once\u003c/em>, Quan recalled how he thought for years his acting career might never match his early work in movies like\u003cem> The Goonies\u003c/em> and \u003cem>Indiana Jones and the Temple of Doom\u003c/em>.\u003c/p>\n\u003cp>“For so many years, I was afraid I had nothing more to offer, that no matter what I did, I would never surpass what I achieved as a kid,” Quan said tearfully, moments after thanking director Steven Spielberg for casting him in\u003cem> Indiana Jones\u003c/em>. “Thankfully, more than 30 years later, two guys thought of me. They remembered that kid. And they gave me an opportunity to try again.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WIFvInRA2xQ\u003c/p>\n\u003cp>Ever since the Globes announced plans to return to NBC after a prolonged scandal over a lack of diversity among members and allegations of corruption, cynics wondered: Why should anyone care about this awards show again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quan’s tearful acceptance speech — a moving moment from an actor of color who is making a triumphant return to the craft when his career seemed to be over — provided a perfect answer.\u003c/p>\n\u003cp>If only these Globes could have come up with a few more moments like that.\u003c/p>\n\u003cp>[aside postid='arts_13923511']Instead, Tuesday’s Globes were an odd hodgepodge of expected awards (Cate Blanchette as best actress in a film drama for\u003cem> Tar\u003c/em>; Steven Spielberg as best director of a film drama for \u003cem>The Fablemans\u003c/em>), awards that didn’t make much sense (the \u003cem>Game of Thrones\u003c/em> spinoff\u003cem> House of the Dragon\u003c/em> as best TV drama over \u003cem>Better Call Saul\u003c/em> and \u003cem>Severance\u003c/em>?), and awards that were cool, but still kind of head-scratchers (\u003cem>Abbott Elementary’\u003c/em>s Tyler James Williams as best supporting actor on a TV show over \u003cem>Severance’\u003c/em>s John Turturro or \u003cem>Barry’\u003c/em>s Henry Winkler?)\u003c/p>\n\u003cp>In the end, the Globes had to make three arguments Tuesday: that it has survived its past scandals to become a better organization; that it still matters as an important benchmark in an awards season topped by The Oscars. And that it’s still Hollywood’s coolest party — the tipsy, uninhibited yin to the stuffy, traditional yang of The Oscars.\u003c/p>\n\u003cp>This year’s program showed they’ve still got a lot of work to do on every front. Here are a few reasons why:\u003c/p>\n\u003ch3>When you pick a host for a show that bills itself as Hollywood’s “party of the year,” maybe hire someone who actually wants to party?\u003c/h3>\n\u003cp>I get why Jerrod Carmichael started the Globes by telling everyone to be quiet while he walked them through a sardonic story on how he decided to take the host’s job. He even dropped a few great lines like: “One minute, you’re making mint tea at home, the next, you’re invited to be the Black face of an embattled white organization.”\u003c/p>\n\u003cp>But ultimately, that was a bummer of a way to start an awards show whose original claim to fame was that it was a wild, fun party. And Carmichael never really found his groove after that awkward, biting, sometimes funny-sometimes-not monologue — telling the audience to be quiet so much, he sounded more like a hall monitor than somebody trying to encourage everyone to have a good time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9OwwVAaWFU&t=11s\u003c/p>\n\u003cp>Worse, some of Carmichael’s attempts at edgy humor weren’t quite funny enough to get past the edge to be entertaining. Like his joke about taking the three Golden Globes Tom Cruise returned — he gave them back in protest during the Globes’ scandals — and trading them for the wife of the Church of Scientology’s leader (critics of the church, of which Cruise is a longtime member, \u003ca href=\"https://deadline.com/2023/01/jerrod-carmichael-shelly-miscavige-scientology-tom-cruise-golden-globes-1235217193/\">have alleged she has been missing for years\u003c/a>.) Though I did love the moment when Carmichael told Spielberg he watched \u003cem>The Fablemans\u003c/em> with Kanye West and the movie was so good it changed Ye’s mind about his anti-Semitism.\u003c/p>\n\u003cp>In an odd way Carmichael’s uneven performance summed up the confused spirit of the show — which couldn’t quite decide if it was going to party on in hopes people forgot its past scandals or offer up a show so smart and incisive all would see they had transcended them.\u003c/p>\n\u003ch3>Diversity among some winners brought powerful moments, but …\u003c/h3>\n\u003cp>The Globes tried mightily to showcase diversity. The first three winners of the night were non-white performers: Quan, Williams and Angela Bassett as supporting actress for \u003cem>Black Panther: Wakanda Forever.\u003c/em>\u003c/p>\n\u003cp>Quan’s \u003cem>Everything Everywhere\u003c/em> co-star Michelle Yeoh finally got her flowers for a 40-year career navigating Hollywood’s often-terrible treatment of Asian performers and women of a certain age. “When I first came to Hollywood, it was a dream come true … until I (got) here,” she quipped, jokingly threatening to beat up producers if they tried to play her off with music before her speech was done. “Someone said to me: ‘You speak English?” … I said, ‘Yeah, the flight here was about 13 hours long, so I learned.’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dHpDqn0nlK8\u003c/p>\n\u003cp>Producer/director Ryan Murphy, accepting the Carol Burnett award for TV achievement, used his acceptance speech to highlight LGBTQ performers he had worked with who had been pressured to hide their identities, like \u003cem>Pose\u003c/em> stars Michaela Jaé Rodriguez, Jeremy Pope and Billy Porter. “My mission was to take the invisible, the unloved, and make them the heroes I long to see but never did in pop culture,” he added.\u003c/p>\n\u003cp>Still, even with all these wonderful moments, there were too many great performances and projects by people of color left out — from movies like\u003cem> Till \u003c/em>and \u003cem>Nope\u003c/em> to TV shows like \u003cem>Reservation Dogs, Atlanta\u003c/em> and \u003cem>Pachinko\u003c/em>. Which left a feeling that the Globes have only just begun to make up for their past missed opportunities.\u003c/p>\n\u003ch3>Playing winners off with music during emotional acceptance speeches kills one of the biggest elements of the show.\u003c/h3>\n\u003cp>This is a mistake too many awards show producers make, including those at the Globes. Early in the night, Carmichael and a few presenters seemed to take their time, eating up precious minutes and throwing the show off schedule. This forces producers to curb the amount of time winners have for their speeches so they can end the show on time for the broadcast network — even during showcase moments like Yeoh’s long-awaited win, Spielberg’s acceptance of the best film drama award for \u003cem>The Fablemans \u003c/em>or Quinta Brunson’s win as best TV comedy for the show she created, \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>They even played off filmmakers trying to talk about the struggle for democracy in Argentina (\u003cem>Argentina, 85\u003c/em>).\u003c/p>\n\u003cp>Worse, the show had a pianist onscreen who was getting blamed for playing people off, but the music was pre-recorded and coming from the producers, as the pianist herself explained on Twitter.\u003c/p>\n\u003cp>https://twitter.com/ChloeFlower/status/1613006017595609089\u003c/p>\n\u003cp>Bottom line: emotional, eloquent acceptance speeches are what viewers love and what critics like me talk about the next day. Setting up a situation where you’re rushing big winners through their moment helps no one — especially the onscreen pianist unfairly blamed for the music.\u003c/p>\n\u003ch3>Making fun of weather emergencies is rarely wise\u003c/h3>\n\u003cp>Because some celebrities chose not to attend the Globes on principle — like nominee Brendan Fraser (\u003cem>The Whale\u003c/em>) — the show went out of its way to tell the audience when a celebrity wasn’t present because they were working or otherwise indisposed.\u003c/p>\n\u003cp>These announcements could lead to some suspicion and snark, including when Regina Hall made fun of the idea that inclement weather trapped \u003cem>Yellowstone\u003c/em> star Kevin Costner in Santa Barbara and kept him from accepting his award as best actor in a TV drama.\u003c/p>\n\u003cp>But Costner had released his own video on social media explaining that heavy rain had washed out the roads in his area and he truly had intended to attend the ceremony — which highlights the dangers of snarking before you know all the facts (and yes, I snarked too, until I saw Costner’s video).\u003c/p>\n\u003cp>https://twitter.com/modernwest/status/1612971766116225026\u003c/p>\n\u003ch3>Even when his acceptance speech is just a few minutes long, Eddie Murphy knows how to bring down the house.\u003c/h3>\n\u003cp>To be honest, I was hoping Murphy would speak longer during his acceptance speech for the Cecil B. DeMille award — a lifetime achievement honor for one of the most influential comics in film or TV. But he offered a short, serious speech where he thanked family, friends and colleagues, before ending with three things he said were the key to success and happiness in Hollywood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agwQGhsS1qw\u003c/p>\n\u003cp>“Pay your taxes. Mind your business. And keep Will Smith’s wife’s name out your mother f—ing mouth!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now that’s the kind of in-your-face, irreverent funny bit that the Golden Globes could have used a lot more of.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Golden+Globes+had+a+lot+to+prove+%E2%80%94+and+still+have+a+long+way+to+go&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1597,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1705005987,
"excerpt": "The so-called “party of the year” was stunted by a hodgepodge of honors and a host whose caustic comedy didn’t fit.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The so-called “party of the year” was stunted by a hodgepodge of honors and a host whose caustic comedy didn’t fit.",
"title": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go",
"datePublished": "2023-01-11T10:44:13-08:00",
"dateModified": "2024-01-11T12:46:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-golden-globes-had-a-lot-to-prove-and-still-have-a-long-way-to-go",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1148150829&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 11 Jan 2023 02:24:26 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 11 Jan 2023 10:46:34 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/01/11/1148150829/golden-globes-2023?ft=nprml&f=1148150829",
"nprImageAgency": "Getty Images",
"nprStoryId": "1148150829",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Amy Sussman",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 11 Jan 2023 10:46:00 -0500",
"path": "/arts/13923590/the-golden-globes-had-a-lot-to-prove-and-still-have-a-long-way-to-go",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ke Huy Quan gave the 80th annual Golden Globe awards the redemption moment it so desperately needed.\u003c/p>\n\u003cp>Accepting the very first award of the night, as best supporting actor in a film for his standout work on the action/fantasy/comedy \u003cem>Everything Everywhere All at Once\u003c/em>, Quan recalled how he thought for years his acting career might never match his early work in movies like\u003cem> The Goonies\u003c/em> and \u003cem>Indiana Jones and the Temple of Doom\u003c/em>.\u003c/p>\n\u003cp>“For so many years, I was afraid I had nothing more to offer, that no matter what I did, I would never surpass what I achieved as a kid,” Quan said tearfully, moments after thanking director Steven Spielberg for casting him in\u003cem> Indiana Jones\u003c/em>. “Thankfully, more than 30 years later, two guys thought of me. They remembered that kid. And they gave me an opportunity to try again.”\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/WIFvInRA2xQ'\n title='//www.youtube.com/embed/WIFvInRA2xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ever since the Globes announced plans to return to NBC after a prolonged scandal over a lack of diversity among members and allegations of corruption, cynics wondered: Why should anyone care about this awards show again?\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>Quan’s tearful acceptance speech — a moving moment from an actor of color who is making a triumphant return to the craft when his career seemed to be over — provided a perfect answer.\u003c/p>\n\u003cp>If only these Globes could have come up with a few more moments like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13923511",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, Tuesday’s Globes were an odd hodgepodge of expected awards (Cate Blanchette as best actress in a film drama for\u003cem> Tar\u003c/em>; Steven Spielberg as best director of a film drama for \u003cem>The Fablemans\u003c/em>), awards that didn’t make much sense (the \u003cem>Game of Thrones\u003c/em> spinoff\u003cem> House of the Dragon\u003c/em> as best TV drama over \u003cem>Better Call Saul\u003c/em> and \u003cem>Severance\u003c/em>?), and awards that were cool, but still kind of head-scratchers (\u003cem>Abbott Elementary’\u003c/em>s Tyler James Williams as best supporting actor on a TV show over \u003cem>Severance’\u003c/em>s John Turturro or \u003cem>Barry’\u003c/em>s Henry Winkler?)\u003c/p>\n\u003cp>In the end, the Globes had to make three arguments Tuesday: that it has survived its past scandals to become a better organization; that it still matters as an important benchmark in an awards season topped by The Oscars. And that it’s still Hollywood’s coolest party — the tipsy, uninhibited yin to the stuffy, traditional yang of The Oscars.\u003c/p>\n\u003cp>This year’s program showed they’ve still got a lot of work to do on every front. Here are a few reasons why:\u003c/p>\n\u003ch3>When you pick a host for a show that bills itself as Hollywood’s “party of the year,” maybe hire someone who actually wants to party?\u003c/h3>\n\u003cp>I get why Jerrod Carmichael started the Globes by telling everyone to be quiet while he walked them through a sardonic story on how he decided to take the host’s job. He even dropped a few great lines like: “One minute, you’re making mint tea at home, the next, you’re invited to be the Black face of an embattled white organization.”\u003c/p>\n\u003cp>But ultimately, that was a bummer of a way to start an awards show whose original claim to fame was that it was a wild, fun party. And Carmichael never really found his groove after that awkward, biting, sometimes funny-sometimes-not monologue — telling the audience to be quiet so much, he sounded more like a hall monitor than somebody trying to encourage everyone to have a good time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P9OwwVAaWFU'\n title='//www.youtube.com/embed/P9OwwVAaWFU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Worse, some of Carmichael’s attempts at edgy humor weren’t quite funny enough to get past the edge to be entertaining. Like his joke about taking the three Golden Globes Tom Cruise returned — he gave them back in protest during the Globes’ scandals — and trading them for the wife of the Church of Scientology’s leader (critics of the church, of which Cruise is a longtime member, \u003ca href=\"https://deadline.com/2023/01/jerrod-carmichael-shelly-miscavige-scientology-tom-cruise-golden-globes-1235217193/\">have alleged she has been missing for years\u003c/a>.) Though I did love the moment when Carmichael told Spielberg he watched \u003cem>The Fablemans\u003c/em> with Kanye West and the movie was so good it changed Ye’s mind about his anti-Semitism.\u003c/p>\n\u003cp>In an odd way Carmichael’s uneven performance summed up the confused spirit of the show — which couldn’t quite decide if it was going to party on in hopes people forgot its past scandals or offer up a show so smart and incisive all would see they had transcended them.\u003c/p>\n\u003ch3>Diversity among some winners brought powerful moments, but …\u003c/h3>\n\u003cp>The Globes tried mightily to showcase diversity. The first three winners of the night were non-white performers: Quan, Williams and Angela Bassett as supporting actress for \u003cem>Black Panther: Wakanda Forever.\u003c/em>\u003c/p>\n\u003cp>Quan’s \u003cem>Everything Everywhere\u003c/em> co-star Michelle Yeoh finally got her flowers for a 40-year career navigating Hollywood’s often-terrible treatment of Asian performers and women of a certain age. “When I first came to Hollywood, it was a dream come true … until I (got) here,” she quipped, jokingly threatening to beat up producers if they tried to play her off with music before her speech was done. “Someone said to me: ‘You speak English?” … I said, ‘Yeah, the flight here was about 13 hours long, so I learned.’”\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/dHpDqn0nlK8'\n title='//www.youtube.com/embed/dHpDqn0nlK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Producer/director Ryan Murphy, accepting the Carol Burnett award for TV achievement, used his acceptance speech to highlight LGBTQ performers he had worked with who had been pressured to hide their identities, like \u003cem>Pose\u003c/em> stars Michaela Jaé Rodriguez, Jeremy Pope and Billy Porter. “My mission was to take the invisible, the unloved, and make them the heroes I long to see but never did in pop culture,” he added.\u003c/p>\n\u003cp>Still, even with all these wonderful moments, there were too many great performances and projects by people of color left out — from movies like\u003cem> Till \u003c/em>and \u003cem>Nope\u003c/em> to TV shows like \u003cem>Reservation Dogs, Atlanta\u003c/em> and \u003cem>Pachinko\u003c/em>. Which left a feeling that the Globes have only just begun to make up for their past missed opportunities.\u003c/p>\n\u003ch3>Playing winners off with music during emotional acceptance speeches kills one of the biggest elements of the show.\u003c/h3>\n\u003cp>This is a mistake too many awards show producers make, including those at the Globes. Early in the night, Carmichael and a few presenters seemed to take their time, eating up precious minutes and throwing the show off schedule. This forces producers to curb the amount of time winners have for their speeches so they can end the show on time for the broadcast network — even during showcase moments like Yeoh’s long-awaited win, Spielberg’s acceptance of the best film drama award for \u003cem>The Fablemans \u003c/em>or Quinta Brunson’s win as best TV comedy for the show she created, \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>They even played off filmmakers trying to talk about the struggle for democracy in Argentina (\u003cem>Argentina, 85\u003c/em>).\u003c/p>\n\u003cp>Worse, the show had a pianist onscreen who was getting blamed for playing people off, but the music was pre-recorded and coming from the producers, as the pianist herself explained on Twitter.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1613006017595609089"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Bottom line: emotional, eloquent acceptance speeches are what viewers love and what critics like me talk about the next day. Setting up a situation where you’re rushing big winners through their moment helps no one — especially the onscreen pianist unfairly blamed for the music.\u003c/p>\n\u003ch3>Making fun of weather emergencies is rarely wise\u003c/h3>\n\u003cp>Because some celebrities chose not to attend the Globes on principle — like nominee Brendan Fraser (\u003cem>The Whale\u003c/em>) — the show went out of its way to tell the audience when a celebrity wasn’t present because they were working or otherwise indisposed.\u003c/p>\n\u003cp>These announcements could lead to some suspicion and snark, including when Regina Hall made fun of the idea that inclement weather trapped \u003cem>Yellowstone\u003c/em> star Kevin Costner in Santa Barbara and kept him from accepting his award as best actor in a TV drama.\u003c/p>\n\u003cp>But Costner had released his own video on social media explaining that heavy rain had washed out the roads in his area and he truly had intended to attend the ceremony — which highlights the dangers of snarking before you know all the facts (and yes, I snarked too, until I saw Costner’s video).\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1612971766116225026"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Even when his acceptance speech is just a few minutes long, Eddie Murphy knows how to bring down the house.\u003c/h3>\n\u003cp>To be honest, I was hoping Murphy would speak longer during his acceptance speech for the Cecil B. DeMille award — a lifetime achievement honor for one of the most influential comics in film or TV. But he offered a short, serious speech where he thanked family, friends and colleagues, before ending with three things he said were the key to success and happiness in Hollywood.\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/agwQGhsS1qw'\n title='//www.youtube.com/embed/agwQGhsS1qw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Pay your taxes. Mind your business. And keep Will Smith’s wife’s name out your mother f—ing mouth!”\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>Now that’s the kind of in-your-face, irreverent funny bit that the Golden Globes could have used a lot more of.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Golden+Globes+had+a+lot+to+prove+%E2%80%94+and+still+have+a+long+way+to+go&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13923590/the-golden-globes-had-a-lot-to-prove-and-still-have-a-long-way-to-go",
"authors": [
"byline_arts_13923590"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_6174"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13923591",
"label": "arts_137"
},
"arts_13923511": {
"type": "posts",
"id": "arts_13923511",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13923511",
"score": null,
"sort": [
1673378461000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1673378461,
"format": "standard",
"title": "Tarnished Golden Globes Attempt a Comeback, After Years of Controversy",
"headTitle": "Tarnished Golden Globes Attempt a Comeback, After Years of Controversy | KQED",
"content": "\u003cp>The Golden Globes are attempting a comeback on television Tuesday evening, after two scandal-ridden years for the organization that hosts the annual ceremony honoring film and TV. The 80-year-old Hollywood Foreign Press Association plans to hand out its awards with \u003ca href=\"https://www.youtube.com/watch?v=HN2aQ3ZE5Fw\">a lavish Hollywood party emceed by comedian Jerrod Carmichael\u003c/a>. The who’s who of this year’s presenters include Best Actress nominee Ana de Armas, Best Supporting Actress nominee Jamie Lee Curtis and filmmaker Quentin Tarantino.\u003c/p>\n\u003cp>[aside postid='arts_13923388']NBC/Peacock will again broadcast the ceremony, \u003ca href=\"https://www.npr.org/2022/01/09/1071706568/the-golden-globes-go-on-but-wont-be-televised\">having ditched it last year\u003c/a>. \u003ca href=\"https://www.npr.org/2021/12/13/1063594038/many-remain-wary-of-the-group-behind-the-golden-globe-awards\">Many studios, networks, stars and publicists boycotted the 2022 ceremony\u003c/a>; There were no celebrity presenters and no red carpet. That was in response to controversy over the HFPA’s questionable practices and lack of diversity.\u003c/p>\n\u003cp>The group was criticized for conflicts of interest and bribery; it was called out for having very few Black members and for holding problematic press conferences by members, who are supposed to be journalists for international media.\u003c/p>\n\u003cp>HFPA president \u003ca href=\"https://www.goldenglobes.com/hfpa-member/helen-hoehne\">Helen Hoehne \u003c/a>says since then, the group has been overhauled, adding stricter standards of who can be a member and a new code of conduct.\u003c/p>\n\u003cp>“We adopted a new set of policies, eliminated a lot of the conflicts that we had,” she tells NPR. “We implemented a new grievance procedure with \u003ca href=\"https://www.goldenglobes.com/hfpa-complaint-hotline\">a confidential reporting hotline\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The HFPA added 21 journalists based in the U.S., including six Black Americans, and \u003ca href=\"https://www.goldenglobes.com/articles/hfpa-r-adds-103-new-voters-golden-glober-awards\">103 new members representing 62 countries\u003c/a>. Two hundred members now making up the voting body — 52% are female, 19.5% self-identify as Latinx, 12% as Asian, 10% as Black and 10% as Middle Eastern.\u003c/p>\n\u003cp>[aside postid='arts_13923009']“We are working to correct past wrongs, past transgressions, but we are really feeling like we’re in a position to take pride in some of that work. But most importantly, we aren’t done,” says\u003ca href=\"https://www.goldenglobes.com/hfpa-member/neil-phillips\"> Neil Phillips, \u003c/a>the HFPA’s Chief Diversity Officer. “The organization was called out, was exposed, justifiably so. They were in crisis, and we’ll continue to work on changing that just to try to be a better organization.”\u003c/p>\n\u003cp>Phillips says the HFPA is now collaborating with 16 advocacy groups, including the NAACP, in what they call a “Reimagined Coalition,” to support and fund efforts toward diversity, equity, inclusion and access in the entertainment industry.\u003c/p>\n\u003cp>“It really took a crisis in order to allow this organization to evolve,” says CEO \u003ca href=\"https://www.goldenglobes.com/hfpa-member/todd-l-boehly\">Todd Boehly\u003c/a>. He says the HFPA is rebranding itself.\u003c/p>\n\u003cp>“It’s evolving into two organizations, one which will be for profit and one which will be the charitable arm, both which will be branded the Golden Globes,” he told NPR.\u003c/p>\n\u003cp>Boehly says the for-profit Golden Globes organization will be more professional, paying journalists to create online content and podcasts (offering them salaries of $75,000 a year). He says they’ll no longer hold exclusive press conferences for its members.\u003c/p>\n\u003cp>“The press conferences were one of the things that Hollywood felt weren’t the safest environments,” Boehly says, admitting that some questions asked during those events were “seen as not thoughtful.”\u003c/p>\n\u003cp>[aside postid='arts_13922631']Behind the scenes, some publicists, actors and filmmakers remain skeptical that the HPFA has truly reformed. They point out, for instance, that \u003ca href=\"https://www.goldenglobes.com/winners-nominees/best-director-motion-picture\">this year’s Best Director category\u003c/a> once again has no female nominees. But some are cautiously hopeful.\u003c/p>\n\u003cp>“They still have a long way to go there, but they have made significant strides,” says Kelly Bush Novak, the CEO and founder of ID, one of the entertainment industry’s top publicity and marketing firms. “I’m optimistic about the road ahead, that the issues we faced historically are going to remain squarely in the rearview mirror.”\u003c/p>\n\u003cp>Two years ago, Novak helped lead 100 publicity firms in \u003ca href=\"https://legacy.npr.org/assets/artslife/arts/2023/HFPAletter.pdf\">signing a letter asking the HFPA to reform\u003c/a>.\u003c/p>\n\u003cp>“It was really problematic. We had clients experience homophobia during press conferences, blatantly racist remarks during press conferences, certainly a lot of sexist remarks,” she says. “It’s important to acknowledge the past and never forget the damage that was done because it was significant. But I really do encourage everyone to concentrate on the promise that they’ve made to continue to reform.”\u003c/p>\n\u003cp>Still, for many, the question remains: Are the Golden Globes forever tarnished?\u003c/p>\n\u003cp>“I am both surprised and not surprised by how quickly Hollywood seems to have forgiven the organization,” \u003ca href=\"https://www.thedailybeast.com/obsessed/the-2023-golden-globe-nominations-are-too-boring-to-care-about?ref=scroll\">says Kevin Fallon, \u003c/a>editor of The Daily Beast’s \u003cem>\u003ca href=\"https://www.thedailybeast.com/franchise/the-daily-beasts-obsessed\">Obsessed\u003c/a>\u003c/em> and co-president of the TV branch of the \u003ca href=\"https://www.criticschoice.com/\">Critics Choice Association\u003c/a>.\u003c/p>\n\u003cp>“At one point, I wondered if they ever had a show again, if no one in Hollywood would show up because they want to stand up for all the things that they had preached about when the controversy first started and wanted to make a statement by not going,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13922764']Last year, amidst the scandal, Tom Cruise famously returned his Golden Globe trophies in protest. This year, his movie \u003cem>Top Gun: Maverick \u003c/em>is \u003ca href=\"https://www.goldenglobes.com/film/top-gun-maverick\">up for Best Picture.\u003c/a> Brendan Fraser, who is \u003ca href=\"https://www.goldenglobes.com/person/brendan-fraser\">nominated as Best Actor\u003c/a> for his role in the film \u003cem>Whale\u003c/em> publicly announced he will not be attending the ceremony; he alleges he was once groped by the HFPA’s former eight-term president Philip Berk — an allegation Berk has disputed.\u003c/p>\n\u003cp>Fallon says it will be interesting to see who else does or doesn’t show up for what’s traditionally been Hollywood’s loosest, booziest awards celebration.\u003c/p>\n\u003cp>Already, there are reports that Steven Spielberg, Tony Kushner and Michelle Williams will be there, representing their film \u003cem>The Fabelmans\u003c/em> (with\u003ca href=\"https://www.goldenglobes.com/film/fabelmans\"> five nominations\u003c/a>). Best Actor nominee \u003ca href=\"https://www.goldenglobes.com/person/austin-butler\">Austin Butler,\u003c/a> who stars in \u003cem>Elvis\u003c/em> reportedly plans to be in the building. Fans will be watching the red carpet for nominated guests such as \u003ca href=\"https://www.goldenglobes.com/person/sheryl-lee-ralph\">Sheryl Lee Ralph \u003c/a>from \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.goldenglobes.com/person/julia-garner\">Julia Garner\u003c/a> from \u003cem>Inventing Anna\u003c/em> and \u003cem>Ozark\u003c/em>, and \u003ca href=\"https://www.goldenglobes.com/person/jenna-ortega\">Jenna Ortega\u003c/a> from \u003cem>Wednesday\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There may bit a little bit of sheepishness in accepting a trophy,” says Fallon. “But of course, it’s Hollywood and they can’t resist going to an awards show. So maybe I shouldn’t be surprised.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarnished+Golden+Globes+attempt+a+comeback%2C+after+years+of+controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1074,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705005993,
"excerpt": "After being boycotted in 2022, the Hollywood Foreign Press Association will once again throw a lavish awards ceremony Tuesday.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After being boycotted in 2022, the Hollywood Foreign Press Association will once again throw a lavish awards ceremony Tuesday.",
"title": "Tarnished Golden Globes Attempt a Comeback, After Years of Controversy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tarnished Golden Globes Attempt a Comeback, After Years of Controversy",
"datePublished": "2023-01-10T11:21:01-08:00",
"dateModified": "2024-01-11T12:46:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tarnished-golden-globes-attempt-a-comeback-after-years-of-controversy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1147440285&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 09 Jan 2023 16:34:47 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 09 Jan 2023 16:34:47 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/01/09/1147440285/golden-globes-2023-hfpa?ft=nprml&f=1147440285",
"nprImageAgency": "Getty Images for Hollywood Foreign Press Association",
"nprStoryId": "1147440285",
"nprByline": "Mandalit del Barco",
"sticky": false,
"nprImageCredit": "Emma McIntyre",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 09 Jan 2023 16:45:00 -0500",
"path": "/arts/13923511/tarnished-golden-globes-attempt-a-comeback-after-years-of-controversy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Golden Globes are attempting a comeback on television Tuesday evening, after two scandal-ridden years for the organization that hosts the annual ceremony honoring film and TV. The 80-year-old Hollywood Foreign Press Association plans to hand out its awards with \u003ca href=\"https://www.youtube.com/watch?v=HN2aQ3ZE5Fw\">a lavish Hollywood party emceed by comedian Jerrod Carmichael\u003c/a>. The who’s who of this year’s presenters include Best Actress nominee Ana de Armas, Best Supporting Actress nominee Jamie Lee Curtis and filmmaker Quentin Tarantino.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13923388",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>NBC/Peacock will again broadcast the ceremony, \u003ca href=\"https://www.npr.org/2022/01/09/1071706568/the-golden-globes-go-on-but-wont-be-televised\">having ditched it last year\u003c/a>. \u003ca href=\"https://www.npr.org/2021/12/13/1063594038/many-remain-wary-of-the-group-behind-the-golden-globe-awards\">Many studios, networks, stars and publicists boycotted the 2022 ceremony\u003c/a>; There were no celebrity presenters and no red carpet. That was in response to controversy over the HFPA’s questionable practices and lack of diversity.\u003c/p>\n\u003cp>The group was criticized for conflicts of interest and bribery; it was called out for having very few Black members and for holding problematic press conferences by members, who are supposed to be journalists for international media.\u003c/p>\n\u003cp>HFPA president \u003ca href=\"https://www.goldenglobes.com/hfpa-member/helen-hoehne\">Helen Hoehne \u003c/a>says since then, the group has been overhauled, adding stricter standards of who can be a member and a new code of conduct.\u003c/p>\n\u003cp>“We adopted a new set of policies, eliminated a lot of the conflicts that we had,” she tells NPR. “We implemented a new grievance procedure with \u003ca href=\"https://www.goldenglobes.com/hfpa-complaint-hotline\">a confidential reporting hotline\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The HFPA added 21 journalists based in the U.S., including six Black Americans, and \u003ca href=\"https://www.goldenglobes.com/articles/hfpa-r-adds-103-new-voters-golden-glober-awards\">103 new members representing 62 countries\u003c/a>. Two hundred members now making up the voting body — 52% are female, 19.5% self-identify as Latinx, 12% as Asian, 10% as Black and 10% as Middle Eastern.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13923009",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We are working to correct past wrongs, past transgressions, but we are really feeling like we’re in a position to take pride in some of that work. But most importantly, we aren’t done,” says\u003ca href=\"https://www.goldenglobes.com/hfpa-member/neil-phillips\"> Neil Phillips, \u003c/a>the HFPA’s Chief Diversity Officer. “The organization was called out, was exposed, justifiably so. They were in crisis, and we’ll continue to work on changing that just to try to be a better organization.”\u003c/p>\n\u003cp>Phillips says the HFPA is now collaborating with 16 advocacy groups, including the NAACP, in what they call a “Reimagined Coalition,” to support and fund efforts toward diversity, equity, inclusion and access in the entertainment industry.\u003c/p>\n\u003cp>“It really took a crisis in order to allow this organization to evolve,” says CEO \u003ca href=\"https://www.goldenglobes.com/hfpa-member/todd-l-boehly\">Todd Boehly\u003c/a>. He says the HFPA is rebranding itself.\u003c/p>\n\u003cp>“It’s evolving into two organizations, one which will be for profit and one which will be the charitable arm, both which will be branded the Golden Globes,” he told NPR.\u003c/p>\n\u003cp>Boehly says the for-profit Golden Globes organization will be more professional, paying journalists to create online content and podcasts (offering them salaries of $75,000 a year). He says they’ll no longer hold exclusive press conferences for its members.\u003c/p>\n\u003cp>“The press conferences were one of the things that Hollywood felt weren’t the safest environments,” Boehly says, admitting that some questions asked during those events were “seen as not thoughtful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922631",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Behind the scenes, some publicists, actors and filmmakers remain skeptical that the HPFA has truly reformed. They point out, for instance, that \u003ca href=\"https://www.goldenglobes.com/winners-nominees/best-director-motion-picture\">this year’s Best Director category\u003c/a> once again has no female nominees. But some are cautiously hopeful.\u003c/p>\n\u003cp>“They still have a long way to go there, but they have made significant strides,” says Kelly Bush Novak, the CEO and founder of ID, one of the entertainment industry’s top publicity and marketing firms. “I’m optimistic about the road ahead, that the issues we faced historically are going to remain squarely in the rearview mirror.”\u003c/p>\n\u003cp>Two years ago, Novak helped lead 100 publicity firms in \u003ca href=\"https://legacy.npr.org/assets/artslife/arts/2023/HFPAletter.pdf\">signing a letter asking the HFPA to reform\u003c/a>.\u003c/p>\n\u003cp>“It was really problematic. We had clients experience homophobia during press conferences, blatantly racist remarks during press conferences, certainly a lot of sexist remarks,” she says. “It’s important to acknowledge the past and never forget the damage that was done because it was significant. But I really do encourage everyone to concentrate on the promise that they’ve made to continue to reform.”\u003c/p>\n\u003cp>Still, for many, the question remains: Are the Golden Globes forever tarnished?\u003c/p>\n\u003cp>“I am both surprised and not surprised by how quickly Hollywood seems to have forgiven the organization,” \u003ca href=\"https://www.thedailybeast.com/obsessed/the-2023-golden-globe-nominations-are-too-boring-to-care-about?ref=scroll\">says Kevin Fallon, \u003c/a>editor of The Daily Beast’s \u003cem>\u003ca href=\"https://www.thedailybeast.com/franchise/the-daily-beasts-obsessed\">Obsessed\u003c/a>\u003c/em> and co-president of the TV branch of the \u003ca href=\"https://www.criticschoice.com/\">Critics Choice Association\u003c/a>.\u003c/p>\n\u003cp>“At one point, I wondered if they ever had a show again, if no one in Hollywood would show up because they want to stand up for all the things that they had preached about when the controversy first started and wanted to make a statement by not going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922764",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, amidst the scandal, Tom Cruise famously returned his Golden Globe trophies in protest. This year, his movie \u003cem>Top Gun: Maverick \u003c/em>is \u003ca href=\"https://www.goldenglobes.com/film/top-gun-maverick\">up for Best Picture.\u003c/a> Brendan Fraser, who is \u003ca href=\"https://www.goldenglobes.com/person/brendan-fraser\">nominated as Best Actor\u003c/a> for his role in the film \u003cem>Whale\u003c/em> publicly announced he will not be attending the ceremony; he alleges he was once groped by the HFPA’s former eight-term president Philip Berk — an allegation Berk has disputed.\u003c/p>\n\u003cp>Fallon says it will be interesting to see who else does or doesn’t show up for what’s traditionally been Hollywood’s loosest, booziest awards celebration.\u003c/p>\n\u003cp>Already, there are reports that Steven Spielberg, Tony Kushner and Michelle Williams will be there, representing their film \u003cem>The Fabelmans\u003c/em> (with\u003ca href=\"https://www.goldenglobes.com/film/fabelmans\"> five nominations\u003c/a>). Best Actor nominee \u003ca href=\"https://www.goldenglobes.com/person/austin-butler\">Austin Butler,\u003c/a> who stars in \u003cem>Elvis\u003c/em> reportedly plans to be in the building. Fans will be watching the red carpet for nominated guests such as \u003ca href=\"https://www.goldenglobes.com/person/sheryl-lee-ralph\">Sheryl Lee Ralph \u003c/a>from \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.goldenglobes.com/person/julia-garner\">Julia Garner\u003c/a> from \u003cem>Inventing Anna\u003c/em> and \u003cem>Ozark\u003c/em>, and \u003ca href=\"https://www.goldenglobes.com/person/jenna-ortega\">Jenna Ortega\u003c/a> from \u003cem>Wednesday\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There may bit a little bit of sheepishness in accepting a trophy,” says Fallon. “But of course, it’s Hollywood and they can’t resist going to an awards show. So maybe I shouldn’t be surprised.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarnished+Golden+Globes+attempt+a+comeback%2C+after+years+of+controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13923511/tarnished-golden-globes-attempt-a-comeback-after-years-of-controversy",
"authors": [
"byline_arts_13923511"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_8417",
"arts_6174"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13923512",
"label": "arts_137"
},
"arts_13923085": {
"type": "posts",
"id": "arts_13923085",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13923085",
"score": null,
"sort": [
1672253797000
]
},
"guestAuthors": [],
"slug": "6-ways-media-took-a-big-step-backward-in-2022",
"title": "6 Ways Media Took a Big Step Backward in 2022",
"publishDate": 1672253797,
"format": "standard",
"headTitle": "6 Ways Media Took a Big Step Backward in 2022 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>As 2022 winds down, it’s obvious the past year has been, in many ways, a giant step backward for media.\u003c/p>\n\u003cp>So much has gone wrong: from fundamental shifts in the streaming business to widespread cutbacks at major media companies — \u003ca href=\"https://www.npr.org/2022/11/30/1139888190/npr-budget-shortfall-20-million\">including NPR\u003c/a> — and, of course, Elon. And there’s one word which sums up the dynamic at the heart of most of this heartache: transition.\u003c/p>\n\u003cp>Through much of 2022, media outlets suffered painful transitions, leaving the familiar behind for wilder, less predictable terrain. And whether change was sparked by economics, evolving circumstances or pure ego — again, Elon! — each of these moments contain important lessons about the future of media and what’s coming on important platforms.\u003c/p>\n\u003cp>Which is why, even as some critics have crafted fun, end of the year lists for the best moments in entertainment, I’m going to tackle something more serious: the six terrible media trends in 2022.\u003c/p>\n\u003ch2>Elon Musk dismantles Twitter before our eyes\u003c/h2>\n\u003cp>Nothing this year brought home the dangers in private ownership of major social media platforms more than the capricious, often-destructive and regularly unpredictable actions of Musk after \u003ca href=\"https://citywire.com/pro-buyer/news/elon-musk-tells-ron-baron-i-overpaid-for-twitter-but-there-s-tremendous-potential/a2401757\">he overpaid for Twitter\u003c/a> in October to the tune of $44 billion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label=\"related coverage\" tag=\"twitter\"]Listing all the terrible things he’s done since taking control of the platform could fill this entire story. And many of his actions seem the opposite of what Twitter — a social media network dependent on \u003ca href=\"https://www.npr.org/2022/11/25/1139180002/twitter-loses-50-top-advertisers-elon-musk\">advertising revenue\u003c/a> and robust usage — actually needs. He’s \u003ca href=\"https://www.cnn.com/2022/12/22/tech/twitter-layoffs-continue/index.html\">laid off more than half the staff\u003c/a>, increased \u003ca href=\"https://www.npr.org/2022/11/29/1139822833/twitter-covid-misinformation-policy-not-enforced\">misinformation\u003c/a>, \u003ca href=\"https://www.npr.org/2022/11/25/1139197362/elon-musk-says-he-will-grant-amnesty-to-suspended-twitter-accounts\">unbanned abusive accounts\u003c/a>, \u003ca href=\"https://www.npr.org/2022/12/15/1143291081/twitter-suspends-journalists-elon-musk-jet\"> suspended journalists\u003c/a> who covered him critically and \u003ca href=\"https://www.npr.org/2022/12/17/1143796992/twitter-lifts-suspensions-on-several-journalists-amid-rift-between-the-site-and-\">then unsuspended\u003c/a> at least some of them, acting in many ways like a petulant king who cannot tolerate contrary views (a marked departure from the free speech absolutism he claimed to champion before closing the deal).\u003c/p>\n\u003cp>Why should anyone care about the fate of a social media site smaller than Facebook or YouTube? The fact is, Twitter has been an important meeting ground for journalists, academics, politicians, celebrities and average people with something substantive to say. The amalgam of Black-focused conversations known as \u003ca href=\"https://www.npr.org/2022/12/12/1142283827/what-we-lose-if-black-twitter-disappears\">Black Twitter\u003c/a> has elevated everything from the death of Trayvon Martin to the Black Lives Matter movement and the murder of George Floyd.\u003c/p>\n\u003cp>But Musk’s misadventures have brought powerful lessons. His aura as an unorthodox-yet-effective leader has been brutally wounded. The idea that the mega-wealthy somehow are more capable than everyone else is seriously punctured.\u003c/p>\n\u003cp>More than anything, Musk’s run of terribleness shows that, if you’re going to bring chaos and break things at a place lots of people value — you’d better soon come up with a vision that explains why it’s all necessary, or it won’t be long before much of the world \u003ca href=\"https://www.theguardian.com/technology/2022/dec/13/twitter-lose-users-elon-musk-takeover-hate-speech\">turns its back\u003c/a>.\u003c/p>\n\u003ch2>Compassion fatigue: The return of the canceled, from Will Smith to ‘COPS’\u003c/h2>\n\u003cp>As a critic, I felt vindicated by \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-06-11/running-from-cops-live-pd-canceled-podcast-police\">the cancellation\u003c/a> of both \u003cem>COPS\u003c/em> and \u003cem>Live PD\u003c/em> in mid-2020. Both shows were an exercise in copaganda, lionizing officers answering calls in the field while showing the people policed in the worst light. Each show was canceled in the wake of the civil rights reckoning which followed George Floyd’s death.\u003c/p>\n\u003cp>[aside postID='arts_13911520']But both programs have returned. This year, producers behind \u003cem>Live PD\u003c/em> crafted a similar show for the Reelz cable channel, called \u003cem>On Patrol: Live\u003c/em>, that was so similar, the A&E channel \u003ca href=\"https://ew.com/tv/ae-sues-reelz-calling-on-patrol-live-blatant-rip-off-live-pd/\">sued for copyright infringement\u003c/a>. (\u003cem>COPS\u003c/em> resurfaced on the Fox Nation streaming service last year.) Worse than any copycatting – at least, from my point of view – was the sense that the shows could come back because people had grown tired of keeping them off the air.\u003c/p>\n\u003cp>I had similar feelings watching Louis C.K. win a Grammy this year for best comedy album, not long after his comedy career imploded in 2017 after admitting a \u003cem>New York Times\u003c/em> report about \u003ca href=\"https://www.nytimes.com/2017/11/10/arts/television/louis-ck-statement.html\">how he sexually harassed and intimidated women\u003c/a> in the comedy world was true. Or seeing Will Smith unleash his considerable charisma on red carpets just weeks ago to promote his film \u003cem>Emancipation\u003c/em>, months after physically attacking Chris Rock onstage at this year’s Oscars.\u003c/p>\n\u003cp>As a culture, we haven’t yet decided how to bring shows and performers back who have been drubbed out of show business for egregious behavior. There is a sense that it should involve some kind of apology and assurance that the terrible behavior won’t be repeated – that was Smith’s \u003ca href=\"https://www.npr.org/2022/12/05/1140806410/how-celebrities-work-their-way-back-into-the-spotlight-after-scandals\">playbook in returning to public life\u003c/a>. But that hasn’t always happened.\u003c/p>\n\u003cp>I worry we’re seeing the public begin to weary of asking the important questions about exploitation and oppression that movements like #Metoo and Black Lives Matter posed in pop culture just a few years ago. Stop asking those questions, and it probably won’t be long before the awful behavior returns.\u003c/p>\n\u003ch2>Media layoffs hit hard, especially in journalism\u003c/h2>\n\u003cp>Along with Warner Bros. Discovery’s layoffs (more about those below), media companies like Paramount Global, Comcast, Roku and Disney \u003ca href=\"https://www.axios.com/2022/11/22/media-layoffs-cnn-disney-economy-jobs-advertising\">announced layoffs this year\u003c/a>, often in response to slowing advertising sales amid fears of a looming recession.\u003c/p>\n\u003cp>Cutbacks at journalism outlets include Gannett, \u003cem>The Washington Post\u003c/em>, BuzzFeed and Outside, Inc. NPR has announced cutbacks aimed at saving $10 million to avoid layoffs, including \u003ca href=\"https://www.theverge.com/2022/12/13/23507990/npr-summer-nternship-proof-podcast-serial-stitcher-canceled\">suspending its summer internship program\u003c/a> next year.\u003c/p>\n\u003cp>It’s just the kind of challenge media outlets don’t need, as they continue to struggle against misinformation and maintaining quality local news coverage in communities with fewer and fewer options.\u003c/p>\n\u003ch2>Streaming TV gets smaller and more expensive as the industry hits adolescence\u003c/h2>\n\u003cp>Once touted as the future of television – which it probably still is – online streaming faced a hard reset this year, starting with industry giant Netflix actually losing subscribers in the first two quarters of the year. Since then, Wall Street has begun asking tough questions about whether any but a handful of platforms can grow big enough to make massive profits.\u003c/p>\n\u003cp>The results, for consumers, have been challenging. HBO Max has pulled material from its library with little warning to subscribers, to take advantage of tax breaks and limit expenses. Netflix, Disney+ and Apple TV+ have all raised prices this year, just as \u003ca href=\"https://www.npr.org/2022/10/28/1130669763/what-do-users-want-from-their-tv-streaming-a-new-npr-ipsos-poll-has-some-answers\">an NPR poll of more than 700\u003c/a> streaming service users revealed that cost is their biggest concern in choosing a subscription. (The second-biggest concern? Access to great content.)\u003c/p>\n\u003cp>And the biggest change Netflix and Disney+ offered this year was a cheaper subscription with ads — an alternative which seems more like a PR move in the face of rising fees rather than anything most streaming consumers are interested in buying.\u003c/p>\n\u003cp>It’s a messy transition: streaming is moving from a promising childhood into a complicated adolescence. Back in the fall of 2019, big companies like Disney and Apple began pouring money and resources into establishing streaming services, well aware that the future of TV viewing was headed there and eager to keep Netflix from dominating it all. The pandemic only accelerated streaming habits that already seemed to be in motion.\u003c/p>\n\u003cp>But 2022 was the year reality intruded. More traditional forms of media are still where most revenue is made, and streaming platforms have had to make tougher choices. Consumers learned this year: Streaming services will not always offer a bottomless well of content. In the future, they likely will cost more, have a little less library content and cancel more shows more quickly. Welcome to the future.\u003c/p>\n\u003ch2>The contraction and dimming future of late night TV\u003c/h2>\n\u003cp>Too many great late night hosts left the genre in 2022. Samantha Bee was canceled by Warner Bros. Discovery; Desus & Mero stopped their Showtime program after they ended their partnership, James Corden announced he would leave CBS’ \u003cem>The Late Late Show\u003c/em> next year and Trevor Noah surprised even his coworkers by \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/inside-trevor-noahs-decision-to-leave-the-daily-show-1235265367/\">announcing he would leave\u003c/a> \u003cem>The Daily Show\u003c/em> seven years after succeeding Jon Stewart.\u003c/p>\n\u003cp>[aside postID='arts_13912923,arts_13919926']What’s obvious is that viewership is down, the jobs are a grind and its not possible to pay today’s hosts what giants of the genre once demanded. Further, late night TV isn’t as big a part of the pop culture zeitgeist anymore. Late night icon Johnny Carson could make a performer into a star with one appearance; David Letterman influenced legions of aspiring comics with his groundbreaking comedy.\u003c/p>\n\u003cp>But modern viewers have increasingly flocked to social media platforms like TikTok, Instagram and YouTube, resulting in \u003ca href=\"https://www.nytimes.com/2022/10/09/business/media/late-night-talk-shows.html\">dropping ratings and revenue\u003c/a> for traditional late night TV shows. At a time when people can watch whatever they want whenever they want, the idea of a late night host capping the day with insightful comedy on topical events may soon feel dated as a $2 bill.\u003c/p>\n\u003ch2>Warner Bros. Discovery cancels and cuts its way to savings\u003c/h2>\n\u003cp>When AT&T spun off its WarnerMedia entertainment company to merge with Discovery in April, few in the industry could project what might happen. Months later, the new company has mostly become known for its cutbacks in the wake of a reported $50 billion in debt.\u003c/p>\n\u003cp>[aside postID='arts_13917057']The moves were jarring: canceling the streaming service CNN+ after just a few weeks; shelving the nearly completed film \u003cem>Batgirl\u003c/em>; canceling Samantha Bee’s show \u003cem>Full Frontal\u003c/em> on TBS; canceling shows like \u003cem>Westworld\u003c/em> and \u003cem>The Time Traveler’s Wife\u003c/em> and removing them completely from HBO Max; canceling CNN’s media analysis show \u003cem>Reliable Sources\u003c/em> and laying off its host Brian Stelter; canceling Latino-focused shows like \u003cem>Los Espookys\u003c/em> and \u003cem>Gordita Chronicles\u003c/em>; implementing wider layoffs across CNN and ending original programming on its sister channel HLN, laying off staff including morning anchor Robin Meade.\u003c/p>\n\u003cp>Some changes at CNN, including the layoffs of Stelter and correspondent John Harwood, led to concerns that the company was muzzling analysts who had prominently criticized conservatives and former president Donald Trump in a bid to become more centrist — an idea CNN Chairman and CEO Chris Licht \u003ca href=\"https://thehill.com/homenews/3746452-new-cnn-boss-licht-idea-i-want-network-to-be-centrist-is-bulls-t/\">has strenuously denied\u003c/a>.\u003c/p>\n\u003cp>Of course, it will take tough decisions to rein in so much debt. But entertainment companies also need a brand that performers and consumers actually like — something audiences connect with quality, stability and fun, while content creators see a good steward for their creations.\u003c/p>\n\u003cp>And they all need a sense that the cuts are serving a grander vision. Breaking things without giving people a good reason why, rarely ends well (see Elon Musk, above).\u003c/p>\n\u003cp>Being known as the Grinch who cancels shows and lays people off doesn’t sounds like a great beginning, no matter how good the numbers look on a balance sheet. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Reflections on Twitter chaos, the streaming industry, late night TV, lots of layoffs and compassion fatigue.",
"status": "publish",
"parent": 0,
"modified": 1726759163,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 34,
"wordCount": 1822
},
"headData": {
"title": "6 Ways Media Took a Big Step Backward in 2022 | KQED",
"description": "Reflections on Twitter chaos, the streaming industry, late night TV, lots of layoffs and compassion fatigue.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "6 Ways Media Took a Big Step Backward in 2022",
"datePublished": "2022-12-28T10:56:37-08:00",
"dateModified": "2024-09-19T08:19:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Patrick Pleul",
"nprByline": "Eric Deggans",
"nprImageAgency": "AFP via Getty Images",
"nprStoryId": "1144370307",
"nprApiLink": "http://api.npr.org/query?id=1144370307&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2022/12/28/1144370307/six-ways-media-took-a-big-step-backward-in-2022?ft=nprml&f=1144370307",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 28 Dec 2022 11:49:00 -0500",
"nprStoryDate": "Wed, 28 Dec 2022 05:00:13 -0500",
"nprLastModifiedDate": "Wed, 28 Dec 2022 11:49:37 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13923085/6-ways-media-took-a-big-step-backward-in-2022",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As 2022 winds down, it’s obvious the past year has been, in many ways, a giant step backward for media.\u003c/p>\n\u003cp>So much has gone wrong: from fundamental shifts in the streaming business to widespread cutbacks at major media companies — \u003ca href=\"https://www.npr.org/2022/11/30/1139888190/npr-budget-shortfall-20-million\">including NPR\u003c/a> — and, of course, Elon. And there’s one word which sums up the dynamic at the heart of most of this heartache: transition.\u003c/p>\n\u003cp>Through much of 2022, media outlets suffered painful transitions, leaving the familiar behind for wilder, less predictable terrain. And whether change was sparked by economics, evolving circumstances or pure ego — again, Elon! — each of these moments contain important lessons about the future of media and what’s coming on important platforms.\u003c/p>\n\u003cp>Which is why, even as some critics have crafted fun, end of the year lists for the best moments in entertainment, I’m going to tackle something more serious: the six terrible media trends in 2022.\u003c/p>\n\u003ch2>Elon Musk dismantles Twitter before our eyes\u003c/h2>\n\u003cp>Nothing this year brought home the dangers in private ownership of major social media platforms more than the capricious, often-destructive and regularly unpredictable actions of Musk after \u003ca href=\"https://citywire.com/pro-buyer/news/elon-musk-tells-ron-baron-i-overpaid-for-twitter-but-there-s-tremendous-potential/a2401757\">he overpaid for Twitter\u003c/a> in October to the tune of $44 billion.\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": {
"label": "related coverage ",
"tag": "twitter"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Listing all the terrible things he’s done since taking control of the platform could fill this entire story. And many of his actions seem the opposite of what Twitter — a social media network dependent on \u003ca href=\"https://www.npr.org/2022/11/25/1139180002/twitter-loses-50-top-advertisers-elon-musk\">advertising revenue\u003c/a> and robust usage — actually needs. He’s \u003ca href=\"https://www.cnn.com/2022/12/22/tech/twitter-layoffs-continue/index.html\">laid off more than half the staff\u003c/a>, increased \u003ca href=\"https://www.npr.org/2022/11/29/1139822833/twitter-covid-misinformation-policy-not-enforced\">misinformation\u003c/a>, \u003ca href=\"https://www.npr.org/2022/11/25/1139197362/elon-musk-says-he-will-grant-amnesty-to-suspended-twitter-accounts\">unbanned abusive accounts\u003c/a>, \u003ca href=\"https://www.npr.org/2022/12/15/1143291081/twitter-suspends-journalists-elon-musk-jet\"> suspended journalists\u003c/a> who covered him critically and \u003ca href=\"https://www.npr.org/2022/12/17/1143796992/twitter-lifts-suspensions-on-several-journalists-amid-rift-between-the-site-and-\">then unsuspended\u003c/a> at least some of them, acting in many ways like a petulant king who cannot tolerate contrary views (a marked departure from the free speech absolutism he claimed to champion before closing the deal).\u003c/p>\n\u003cp>Why should anyone care about the fate of a social media site smaller than Facebook or YouTube? The fact is, Twitter has been an important meeting ground for journalists, academics, politicians, celebrities and average people with something substantive to say. The amalgam of Black-focused conversations known as \u003ca href=\"https://www.npr.org/2022/12/12/1142283827/what-we-lose-if-black-twitter-disappears\">Black Twitter\u003c/a> has elevated everything from the death of Trayvon Martin to the Black Lives Matter movement and the murder of George Floyd.\u003c/p>\n\u003cp>But Musk’s misadventures have brought powerful lessons. His aura as an unorthodox-yet-effective leader has been brutally wounded. The idea that the mega-wealthy somehow are more capable than everyone else is seriously punctured.\u003c/p>\n\u003cp>More than anything, Musk’s run of terribleness shows that, if you’re going to bring chaos and break things at a place lots of people value — you’d better soon come up with a vision that explains why it’s all necessary, or it won’t be long before much of the world \u003ca href=\"https://www.theguardian.com/technology/2022/dec/13/twitter-lose-users-elon-musk-takeover-hate-speech\">turns its back\u003c/a>.\u003c/p>\n\u003ch2>Compassion fatigue: The return of the canceled, from Will Smith to ‘COPS’\u003c/h2>\n\u003cp>As a critic, I felt vindicated by \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-06-11/running-from-cops-live-pd-canceled-podcast-police\">the cancellation\u003c/a> of both \u003cem>COPS\u003c/em> and \u003cem>Live PD\u003c/em> in mid-2020. Both shows were an exercise in copaganda, lionizing officers answering calls in the field while showing the people policed in the worst light. Each show was canceled in the wake of the civil rights reckoning which followed George Floyd’s death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13911520",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But both programs have returned. This year, producers behind \u003cem>Live PD\u003c/em> crafted a similar show for the Reelz cable channel, called \u003cem>On Patrol: Live\u003c/em>, that was so similar, the A&E channel \u003ca href=\"https://ew.com/tv/ae-sues-reelz-calling-on-patrol-live-blatant-rip-off-live-pd/\">sued for copyright infringement\u003c/a>. (\u003cem>COPS\u003c/em> resurfaced on the Fox Nation streaming service last year.) Worse than any copycatting – at least, from my point of view – was the sense that the shows could come back because people had grown tired of keeping them off the air.\u003c/p>\n\u003cp>I had similar feelings watching Louis C.K. win a Grammy this year for best comedy album, not long after his comedy career imploded in 2017 after admitting a \u003cem>New York Times\u003c/em> report about \u003ca href=\"https://www.nytimes.com/2017/11/10/arts/television/louis-ck-statement.html\">how he sexually harassed and intimidated women\u003c/a> in the comedy world was true. Or seeing Will Smith unleash his considerable charisma on red carpets just weeks ago to promote his film \u003cem>Emancipation\u003c/em>, months after physically attacking Chris Rock onstage at this year’s Oscars.\u003c/p>\n\u003cp>As a culture, we haven’t yet decided how to bring shows and performers back who have been drubbed out of show business for egregious behavior. There is a sense that it should involve some kind of apology and assurance that the terrible behavior won’t be repeated – that was Smith’s \u003ca href=\"https://www.npr.org/2022/12/05/1140806410/how-celebrities-work-their-way-back-into-the-spotlight-after-scandals\">playbook in returning to public life\u003c/a>. But that hasn’t always happened.\u003c/p>\n\u003cp>I worry we’re seeing the public begin to weary of asking the important questions about exploitation and oppression that movements like #Metoo and Black Lives Matter posed in pop culture just a few years ago. Stop asking those questions, and it probably won’t be long before the awful behavior returns.\u003c/p>\n\u003ch2>Media layoffs hit hard, especially in journalism\u003c/h2>\n\u003cp>Along with Warner Bros. Discovery’s layoffs (more about those below), media companies like Paramount Global, Comcast, Roku and Disney \u003ca href=\"https://www.axios.com/2022/11/22/media-layoffs-cnn-disney-economy-jobs-advertising\">announced layoffs this year\u003c/a>, often in response to slowing advertising sales amid fears of a looming recession.\u003c/p>\n\u003cp>Cutbacks at journalism outlets include Gannett, \u003cem>The Washington Post\u003c/em>, BuzzFeed and Outside, Inc. NPR has announced cutbacks aimed at saving $10 million to avoid layoffs, including \u003ca href=\"https://www.theverge.com/2022/12/13/23507990/npr-summer-nternship-proof-podcast-serial-stitcher-canceled\">suspending its summer internship program\u003c/a> next year.\u003c/p>\n\u003cp>It’s just the kind of challenge media outlets don’t need, as they continue to struggle against misinformation and maintaining quality local news coverage in communities with fewer and fewer options.\u003c/p>\n\u003ch2>Streaming TV gets smaller and more expensive as the industry hits adolescence\u003c/h2>\n\u003cp>Once touted as the future of television – which it probably still is – online streaming faced a hard reset this year, starting with industry giant Netflix actually losing subscribers in the first two quarters of the year. Since then, Wall Street has begun asking tough questions about whether any but a handful of platforms can grow big enough to make massive profits.\u003c/p>\n\u003cp>The results, for consumers, have been challenging. HBO Max has pulled material from its library with little warning to subscribers, to take advantage of tax breaks and limit expenses. Netflix, Disney+ and Apple TV+ have all raised prices this year, just as \u003ca href=\"https://www.npr.org/2022/10/28/1130669763/what-do-users-want-from-their-tv-streaming-a-new-npr-ipsos-poll-has-some-answers\">an NPR poll of more than 700\u003c/a> streaming service users revealed that cost is their biggest concern in choosing a subscription. (The second-biggest concern? Access to great content.)\u003c/p>\n\u003cp>And the biggest change Netflix and Disney+ offered this year was a cheaper subscription with ads — an alternative which seems more like a PR move in the face of rising fees rather than anything most streaming consumers are interested in buying.\u003c/p>\n\u003cp>It’s a messy transition: streaming is moving from a promising childhood into a complicated adolescence. Back in the fall of 2019, big companies like Disney and Apple began pouring money and resources into establishing streaming services, well aware that the future of TV viewing was headed there and eager to keep Netflix from dominating it all. The pandemic only accelerated streaming habits that already seemed to be in motion.\u003c/p>\n\u003cp>But 2022 was the year reality intruded. More traditional forms of media are still where most revenue is made, and streaming platforms have had to make tougher choices. Consumers learned this year: Streaming services will not always offer a bottomless well of content. In the future, they likely will cost more, have a little less library content and cancel more shows more quickly. Welcome to the future.\u003c/p>\n\u003ch2>The contraction and dimming future of late night TV\u003c/h2>\n\u003cp>Too many great late night hosts left the genre in 2022. Samantha Bee was canceled by Warner Bros. Discovery; Desus & Mero stopped their Showtime program after they ended their partnership, James Corden announced he would leave CBS’ \u003cem>The Late Late Show\u003c/em> next year and Trevor Noah surprised even his coworkers by \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/inside-trevor-noahs-decision-to-leave-the-daily-show-1235265367/\">announcing he would leave\u003c/a> \u003cem>The Daily Show\u003c/em> seven years after succeeding Jon Stewart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13912923,arts_13919926",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>What’s obvious is that viewership is down, the jobs are a grind and its not possible to pay today’s hosts what giants of the genre once demanded. Further, late night TV isn’t as big a part of the pop culture zeitgeist anymore. Late night icon Johnny Carson could make a performer into a star with one appearance; David Letterman influenced legions of aspiring comics with his groundbreaking comedy.\u003c/p>\n\u003cp>But modern viewers have increasingly flocked to social media platforms like TikTok, Instagram and YouTube, resulting in \u003ca href=\"https://www.nytimes.com/2022/10/09/business/media/late-night-talk-shows.html\">dropping ratings and revenue\u003c/a> for traditional late night TV shows. At a time when people can watch whatever they want whenever they want, the idea of a late night host capping the day with insightful comedy on topical events may soon feel dated as a $2 bill.\u003c/p>\n\u003ch2>Warner Bros. Discovery cancels and cuts its way to savings\u003c/h2>\n\u003cp>When AT&T spun off its WarnerMedia entertainment company to merge with Discovery in April, few in the industry could project what might happen. Months later, the new company has mostly become known for its cutbacks in the wake of a reported $50 billion in debt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13917057",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The moves were jarring: canceling the streaming service CNN+ after just a few weeks; shelving the nearly completed film \u003cem>Batgirl\u003c/em>; canceling Samantha Bee’s show \u003cem>Full Frontal\u003c/em> on TBS; canceling shows like \u003cem>Westworld\u003c/em> and \u003cem>The Time Traveler’s Wife\u003c/em> and removing them completely from HBO Max; canceling CNN’s media analysis show \u003cem>Reliable Sources\u003c/em> and laying off its host Brian Stelter; canceling Latino-focused shows like \u003cem>Los Espookys\u003c/em> and \u003cem>Gordita Chronicles\u003c/em>; implementing wider layoffs across CNN and ending original programming on its sister channel HLN, laying off staff including morning anchor Robin Meade.\u003c/p>\n\u003cp>Some changes at CNN, including the layoffs of Stelter and correspondent John Harwood, led to concerns that the company was muzzling analysts who had prominently criticized conservatives and former president Donald Trump in a bid to become more centrist — an idea CNN Chairman and CEO Chris Licht \u003ca href=\"https://thehill.com/homenews/3746452-new-cnn-boss-licht-idea-i-want-network-to-be-centrist-is-bulls-t/\">has strenuously denied\u003c/a>.\u003c/p>\n\u003cp>Of course, it will take tough decisions to rein in so much debt. But entertainment companies also need a brand that performers and consumers actually like — something audiences connect with quality, stability and fun, while content creators see a good steward for their creations.\u003c/p>\n\u003cp>And they all need a sense that the cuts are serving a grander vision. Breaking things without giving people a good reason why, rarely ends well (see Elon Musk, above).\u003c/p>\n\u003cp>Being known as the Grinch who cancels shows and lays people off doesn’t sounds like a great beginning, no matter how good the numbers look on a balance sheet. \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>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13923085/6-ways-media-took-a-big-step-backward-in-2022",
"authors": [
"byline_arts_13923085"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_10278"
],
"featImg": "arts_13923086",
"label": "arts"
},
"arts_13922842": {
"type": "posts",
"id": "arts_13922842",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922842",
"score": null,
"sort": [
1671475881000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 10778
},
"blocks": [],
"publishDate": 1671475881,
"format": "standard",
"title": "The Fantasia of Angelo Badalamenti, Veil-Piercing Composer",
"headTitle": "The Fantasia of Angelo Badalamenti, Veil-Piercing Composer | KQED",
"content": "\u003cp>A girl walks into a diner and goes straight for the jukebox, and \u003ca href=\"https://www.youtube.com/watch?v=DF43b38k0Mw\">the song\u003c/a> she puts on is a strange one: a wordless, off-centered jazz number that slinks around, snapping its fingers and occasionally erupting in fits of woodwind and brass. “God, I love this music,” the girl sighs. “Isn’t it too dreamy?” In the middle of the restaurant she begins to sway — eyes closed, head back, arms out like airplane wings, lost in a mesmerizing and vaguely concerning trance. At other times the girl’s air of mystery is cannily performed; here it is plain to all witnesses that the song has taken her somewhere else. At this moment, in \u003ca href=\"https://www.youtube.com/watch?v=Kr7gBYgk_7c\">this scene\u003c/a>, I and presumably millions of others fell obsessively in love with the television series \u003cem>Twin Peaks\u003c/em> and, without then knowing, the music of Angelo Badalamenti, the conductor and composer who \u003ca href=\"https://www.npr.org/2022/12/14/1142894262/twin-peaks-composer-angelo-badalamenti-died-sunday-at-age-85\">died last week at 85\u003c/a> and whose partnership with David Lynch was intrinsic to the director’s famous sensibility — the terror, the absurdity, the wild pain and sublime beauty and distinctly American ambient psychosis, the sincerity beneath it all. That part of the scene was unrehearsed, a pure reaction to the sounds; Lynch had given no warning to the actress, Sherilynn Fenn, that she’d be dancing to “this really cool, sexy, jazzy thing that Angelo and I just wrote!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DF43b38k0Mw\u003c/p>\n\u003cp>Seeing Badalamenti’s name flicker elegantly across a Lynch film’s opening credits — over \u003ca href=\"https://www.youtube.com/watch?v=ZXfYNMwTe68\">blue velvet curtains\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rr5ZWwKEE9o\">billowing flames\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=FTUxRX6cwDk\">headlights on a two-lane highway\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=PrltOLHkzs0\">the glow of television static\u003c/a> — you might envision a stately Italian maestro with an impressive scarf collection and discerning taste for espresso, not unlike the bit part he \u003ca href=\"https://www.youtube.com/watch?v=aVI-Jew-iHo\">played hysterically\u003c/a> in \u003cem>Mulholland Drive\u003c/em>. In fact he was a cheerful, paunchy fellow for whom inspiration sometimes struck during a round of golf at the North Jersey Country Club, a Brooklyn-born son of a fishmonger who initially needed a translator for Lynch’s gee-whiz lingo. (“This is peachy keen!” Lynch yelped upon hearing Badalamenti’s demo work with actress Isabella Rossellini for her haunted rendition of \u003cem>Blue Velvet\u003c/em>‘s namesake song, the filmmaker and composer’s first encounter. “You know, I’m from Bensonhurst — we don’t use those words,” Badalamenti laughed \u003ca href=\"https://www.rollingstone.com/music/music-news/dream-team-the-semi-mysterious-story-behind-the-music-of-twin-peaks-78506/\">decades later\u003c/a>.) As a child, Sunday nights meant gathering around the Victrola as his grandfather worked himself to tears narrating the storylines of Italian operas, early evidence of music’s capacity to make someone weep. Angelo spent his teenage summers accompanying Catskills resort singers on piano, earned a bachelor’s degree in French horn from the Manhattan School of Music and taught music to junior high students in Brooklyn; meanwhile he wrote jingles and torch songs under the pen name Andy Badale. (Two of them, \u003ca href=\"https://songwhip.com/nina-simone/iholdnogrudge\">“I Hold No Grudge”\u003c/a> and “\u003ca href=\"https://songwhip.com/nina-simone/he-aint-comin-home-no-more\">He Ain’t Comin’ Home No More\u003c/a>,” appear on Nina Simone’s 1967 album \u003cem>High Priestess of Soul\u003c/em>.) Badalamenti had scored a few films before stepping onto \u003cem>Blue Velvet\u003c/em>‘s set, but his soundtrack for the 1986 classic marked his big break and the start of a 30-plus-year mind-meld with one of America’s great auteurs.\u003c/p>\n\u003cp>There’s a serendipity to so many of Badalamenti’s arrangements for Lynch, which serve as our emotional compass for navigating the director’s uncanny worlds. So impressed was Lynch with Badalamenti’s vocal coaching he invited the musician to collaborate on an original theme for \u003cem>Blue Velvet\u003c/em>, offering no more guidance than this: “Make it like the wind, Angelo. It should be a song that floats on the sea of time.” (With them, it was always this way; sometimes Lynch would instruct his friend, “I’m gonna need some music that’s gonna tear the hearts out of people!” and at other times, a shared glance over coffee and turkey sandwiches was all it took.) Badalamenti sat down at the keyboard and out came “\u003ca href=\"https://www.youtube.com/watch?v=TMDvOhmLmg4\">Mysteries of Love\u003c/a>,” a liturgical-sounding synth arrangement I like to think of as the composer’s “blinding light of love” mode, to borrow a line from the film — startlingly hopeful music for piercing through the darkness. For its vocals he recruited a chorus girl he’d met off-Broadway by the name of Julee Cruise, whose belting musical theater voice he coaxed to sound like an angel who’d awoken on earth on the back of a stranger’s motorcycle. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ry5vs331sMY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That full-immersion feeling of Lynch’s work is in part because its characters are witness to the same otherworldly Badalamenti music we are, in any number of moody dives: the \u003ca href=\"https://www.youtube.com/watch?v=6wCfI2Czhjc\">ghostly “banda”\u003c/a> of \u003cem>Mulholland Drive\u003c/em>‘s Silencio, \u003cem>Lost Highway\u003c/em>‘s \u003ca href=\"https://www.youtube.com/watch?v=PyZlYj8jpt8\">sax freak-out\u003c/a> at Club Luna or jazz legend Jimmy Scott’s breathtaking performance of “\u003ca href=\"https://www.youtube.com/watch?v=2vOg0HyJpvI\">Sycamore Trees\u003c/a>,” live from the strobe-lit Black Lodge. (Lately I’ve been returning to “\u003ca href=\"https://www.youtube.com/watch?v=zUMR3cR1qSY\">A Real Indication\u003c/a>,” where Badalamenti raps so weirdly it made Lynch laugh until he got a hernia — a rare moment of levity in the brutal \u003cem>Fire Walk With Me\u003c/em>.) But there’s nothing quite like Julee Cruise onstage at \u003cem>Twin Peaks\u003c/em>‘ Roadhouse, bringing a room of bikers, loggers and rockabilly teens to hysterical tears with her rendition of \u003ca href=\"https://www.youtube.com/watch?v=s-VRRVLGPC4\">“The World Spins”\u003c/a> while awful things happen outside. The song first appeared on Cruise’s 1989 debut \u003cem>Floating into the Night\u003c/em>, a Badalamenti-produced collection of heavenly dream pop. A year later another instrumental from that album would become the most gorgeous \u003ca href=\"https://www.youtube.com/watch?v=Z30zg9a5M5k\">theme song\u003c/a> in television history, the opening notes of which function like that sycamore-shrouded portal to \u003cem>Twin Peak\u003c/em>‘s stylish underworld.\u003c/p>\n\u003cfigure id=\"attachment_13922852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/twinpeaks.jpg\" alt=\"\" width=\"600\" height=\"782\" class=\"size-full wp-image-13922852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-768x1000.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Badalamenti, bottom right, with the cast of Twin Peaks in a photo taken July 7, 1990. \u003ccite>(ABC Photo Archives/Disney General Entertainment Content via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The day after Badalamenti’s death, my Twitter timeline was mercifully bombarded with a \u003ca href=\"https://www.youtube.com/watch?v=e-eqgr_gn4k\">video\u003c/a> of the composer from 2018, the most moving account of creative collaboration I have ever seen. The 81-year old sits at the aged Fender Rhodes, where he composed all \u003cem>Twin Peaks\u003c/em>‘ major themes, pointing happily to the spot where Lynch would sit beside him and dictate the images in his mind (before a single scene of \u003cem>Twin Peaks\u003c/em> had been shot). “And David would say, ‘Okay, Angelo, we’re in a dark woods now, and there’s a soft wind blowing through some sycamore trees, and there’s a moon out, and there’s some animal sounds in the background, and you can hear the hoot of an owl…’ And I started playing…” Badalamenti plays the minor introductory chords of “Laura Palmer’s Theme,” in whose spare elements the essence of \u003cem>Twin Peaks\u003c/em> is contained — the persistence of love in the face of supernatural tragedy. “Then he would say, ‘Okay, Angelo, now we gotta make a change, because from behind the tree in the back of the woods, there’s this very lonely girl, her name is Laura Palmer…” In his Brooklyn accent it comes out “Laura Palma,” and as he changes keys and builds to a crescendo, he shuts his eyes and goes on in Lynch’s voice: “‘Oh, that’s it! Angelo, oh, that’s tearin’ my heart out! Now she’s starting to leave, so fall down — keep falling — go back into the dark woods. That’s it. Keep going.’ ” He releases the song’s final chord and opens his eyes, and they shine with love and pride. “David got up, he gave me a big hug, and he said, ‘Angelo, that’s \u003cem>Twin Peaks\u003c/em>.’ ” That’s the way Lynch and Badalamenti worked: a mystic connection through pure instinct and feeling, building off one another until they’d summoned a universe. \u003c/p>\n\u003cfigure id=\"attachment_13922845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a.jpg 1958w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the pilot episode of Twin Peaks, featuring Michael Ontkean as Sheriff Harry S. Truman (left) and Kyle MacLachlan as Special Agent Dale Cooper. \u003ccite>(Peaks'. (Photo by CBS Photo Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tuning into \u003ca href=\"https://www.npr.org/2017/07/19/538091293/twin-peaks-the-return\">the return of Twin Peaks\u003c/a> twenty-five years after the original cliffhanger, I remember it feeling \u003cem>wrong\u003c/em>: Why were we in a cold New York City warehouse? Who were these horrible doppelgängers? Where were the rustic wood interiors? What happened to the world I loved? Of course we’re meant to think this — it’s a deliberate play against our nostalgia — and it isn’t until the new season’s fourth hour that the slow chords of “Laura Palmer’s Theme” crescendo into the background, instantly triggering twenty-five years of memories. In the moment, it felt like home, and today it seems like a miracle, the chance to let Badalamenti tear our hearts out one last time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+fantasia+of+Angelo+Badalamenti%2C+veil-piercing+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1580,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705006044,
"excerpt": "Badalamenti's music, soft and bizarre and surging, was an emotional compass for the uncanny creations of director David Lynch.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Badalamenti's music, soft and bizarre and surging, was an emotional compass for the uncanny creations of director David Lynch.",
"title": "The Fantasia of Angelo Badalamenti, Veil-Piercing Composer | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Fantasia of Angelo Badalamenti, Veil-Piercing Composer",
"datePublished": "2022-12-19T10:51:21-08:00",
"dateModified": "2024-01-11T12:47:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "angelo-badalamenti-remembrance",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1144137378&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 19 Dec 2022 12:46:34 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 19 Dec 2022 13:00:37 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/12/19/1144137378/the-fantasia-of-angelo-badalamenti-veil-piercing-composer?ft=nprml&f=1144137378",
"nprImageAgency": "Disney General Entertainment Content via Getty Images",
"nprStoryId": "1144137378",
"nprByline": "Meaghan Garvey",
"sticky": false,
"nprImageCredit": "ABC Photo Archives",
"showOnAuthorArchivePages": "No",
"WpOldSlug": "the-fantasia-of-angelo-badalamenti-veil-piercing-composer",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 19 Dec 2022 13:00:00 -0500",
"path": "/arts/13922842/angelo-badalamenti-remembrance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A girl walks into a diner and goes straight for the jukebox, and \u003ca href=\"https://www.youtube.com/watch?v=DF43b38k0Mw\">the song\u003c/a> she puts on is a strange one: a wordless, off-centered jazz number that slinks around, snapping its fingers and occasionally erupting in fits of woodwind and brass. “God, I love this music,” the girl sighs. “Isn’t it too dreamy?” In the middle of the restaurant she begins to sway — eyes closed, head back, arms out like airplane wings, lost in a mesmerizing and vaguely concerning trance. At other times the girl’s air of mystery is cannily performed; here it is plain to all witnesses that the song has taken her somewhere else. At this moment, in \u003ca href=\"https://www.youtube.com/watch?v=Kr7gBYgk_7c\">this scene\u003c/a>, I and presumably millions of others fell obsessively in love with the television series \u003cem>Twin Peaks\u003c/em> and, without then knowing, the music of Angelo Badalamenti, the conductor and composer who \u003ca href=\"https://www.npr.org/2022/12/14/1142894262/twin-peaks-composer-angelo-badalamenti-died-sunday-at-age-85\">died last week at 85\u003c/a> and whose partnership with David Lynch was intrinsic to the director’s famous sensibility — the terror, the absurdity, the wild pain and sublime beauty and distinctly American ambient psychosis, the sincerity beneath it all. That part of the scene was unrehearsed, a pure reaction to the sounds; Lynch had given no warning to the actress, Sherilynn Fenn, that she’d be dancing to “this really cool, sexy, jazzy thing that Angelo and I just wrote!”\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/DF43b38k0Mw'\n title='//www.youtube.com/embed/DF43b38k0Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seeing Badalamenti’s name flicker elegantly across a Lynch film’s opening credits — over \u003ca href=\"https://www.youtube.com/watch?v=ZXfYNMwTe68\">blue velvet curtains\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rr5ZWwKEE9o\">billowing flames\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=FTUxRX6cwDk\">headlights on a two-lane highway\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=PrltOLHkzs0\">the glow of television static\u003c/a> — you might envision a stately Italian maestro with an impressive scarf collection and discerning taste for espresso, not unlike the bit part he \u003ca href=\"https://www.youtube.com/watch?v=aVI-Jew-iHo\">played hysterically\u003c/a> in \u003cem>Mulholland Drive\u003c/em>. In fact he was a cheerful, paunchy fellow for whom inspiration sometimes struck during a round of golf at the North Jersey Country Club, a Brooklyn-born son of a fishmonger who initially needed a translator for Lynch’s gee-whiz lingo. (“This is peachy keen!” Lynch yelped upon hearing Badalamenti’s demo work with actress Isabella Rossellini for her haunted rendition of \u003cem>Blue Velvet\u003c/em>‘s namesake song, the filmmaker and composer’s first encounter. “You know, I’m from Bensonhurst — we don’t use those words,” Badalamenti laughed \u003ca href=\"https://www.rollingstone.com/music/music-news/dream-team-the-semi-mysterious-story-behind-the-music-of-twin-peaks-78506/\">decades later\u003c/a>.) As a child, Sunday nights meant gathering around the Victrola as his grandfather worked himself to tears narrating the storylines of Italian operas, early evidence of music’s capacity to make someone weep. Angelo spent his teenage summers accompanying Catskills resort singers on piano, earned a bachelor’s degree in French horn from the Manhattan School of Music and taught music to junior high students in Brooklyn; meanwhile he wrote jingles and torch songs under the pen name Andy Badale. (Two of them, \u003ca href=\"https://songwhip.com/nina-simone/iholdnogrudge\">“I Hold No Grudge”\u003c/a> and “\u003ca href=\"https://songwhip.com/nina-simone/he-aint-comin-home-no-more\">He Ain’t Comin’ Home No More\u003c/a>,” appear on Nina Simone’s 1967 album \u003cem>High Priestess of Soul\u003c/em>.) Badalamenti had scored a few films before stepping onto \u003cem>Blue Velvet\u003c/em>‘s set, but his soundtrack for the 1986 classic marked his big break and the start of a 30-plus-year mind-meld with one of America’s great auteurs.\u003c/p>\n\u003cp>There’s a serendipity to so many of Badalamenti’s arrangements for Lynch, which serve as our emotional compass for navigating the director’s uncanny worlds. So impressed was Lynch with Badalamenti’s vocal coaching he invited the musician to collaborate on an original theme for \u003cem>Blue Velvet\u003c/em>, offering no more guidance than this: “Make it like the wind, Angelo. It should be a song that floats on the sea of time.” (With them, it was always this way; sometimes Lynch would instruct his friend, “I’m gonna need some music that’s gonna tear the hearts out of people!” and at other times, a shared glance over coffee and turkey sandwiches was all it took.) Badalamenti sat down at the keyboard and out came “\u003ca href=\"https://www.youtube.com/watch?v=TMDvOhmLmg4\">Mysteries of Love\u003c/a>,” a liturgical-sounding synth arrangement I like to think of as the composer’s “blinding light of love” mode, to borrow a line from the film — startlingly hopeful music for piercing through the darkness. For its vocals he recruited a chorus girl he’d met off-Broadway by the name of Julee Cruise, whose belting musical theater voice he coaxed to sound like an angel who’d awoken on earth on the back of a stranger’s motorcycle. \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/ry5vs331sMY'\n title='//www.youtube.com/embed/ry5vs331sMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That full-immersion feeling of Lynch’s work is in part because its characters are witness to the same otherworldly Badalamenti music we are, in any number of moody dives: the \u003ca href=\"https://www.youtube.com/watch?v=6wCfI2Czhjc\">ghostly “banda”\u003c/a> of \u003cem>Mulholland Drive\u003c/em>‘s Silencio, \u003cem>Lost Highway\u003c/em>‘s \u003ca href=\"https://www.youtube.com/watch?v=PyZlYj8jpt8\">sax freak-out\u003c/a> at Club Luna or jazz legend Jimmy Scott’s breathtaking performance of “\u003ca href=\"https://www.youtube.com/watch?v=2vOg0HyJpvI\">Sycamore Trees\u003c/a>,” live from the strobe-lit Black Lodge. (Lately I’ve been returning to “\u003ca href=\"https://www.youtube.com/watch?v=zUMR3cR1qSY\">A Real Indication\u003c/a>,” where Badalamenti raps so weirdly it made Lynch laugh until he got a hernia — a rare moment of levity in the brutal \u003cem>Fire Walk With Me\u003c/em>.) But there’s nothing quite like Julee Cruise onstage at \u003cem>Twin Peaks\u003c/em>‘ Roadhouse, bringing a room of bikers, loggers and rockabilly teens to hysterical tears with her rendition of \u003ca href=\"https://www.youtube.com/watch?v=s-VRRVLGPC4\">“The World Spins”\u003c/a> while awful things happen outside. The song first appeared on Cruise’s 1989 debut \u003cem>Floating into the Night\u003c/em>, a Badalamenti-produced collection of heavenly dream pop. A year later another instrumental from that album would become the most gorgeous \u003ca href=\"https://www.youtube.com/watch?v=Z30zg9a5M5k\">theme song\u003c/a> in television history, the opening notes of which function like that sycamore-shrouded portal to \u003cem>Twin Peak\u003c/em>‘s stylish underworld.\u003c/p>\n\u003cfigure id=\"attachment_13922852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/twinpeaks.jpg\" alt=\"\" width=\"600\" height=\"782\" class=\"size-full wp-image-13922852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-768x1000.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Badalamenti, bottom right, with the cast of Twin Peaks in a photo taken July 7, 1990. \u003ccite>(ABC Photo Archives/Disney General Entertainment Content via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The day after Badalamenti’s death, my Twitter timeline was mercifully bombarded with a \u003ca href=\"https://www.youtube.com/watch?v=e-eqgr_gn4k\">video\u003c/a> of the composer from 2018, the most moving account of creative collaboration I have ever seen. The 81-year old sits at the aged Fender Rhodes, where he composed all \u003cem>Twin Peaks\u003c/em>‘ major themes, pointing happily to the spot where Lynch would sit beside him and dictate the images in his mind (before a single scene of \u003cem>Twin Peaks\u003c/em> had been shot). “And David would say, ‘Okay, Angelo, we’re in a dark woods now, and there’s a soft wind blowing through some sycamore trees, and there’s a moon out, and there’s some animal sounds in the background, and you can hear the hoot of an owl…’ And I started playing…” Badalamenti plays the minor introductory chords of “Laura Palmer’s Theme,” in whose spare elements the essence of \u003cem>Twin Peaks\u003c/em> is contained — the persistence of love in the face of supernatural tragedy. “Then he would say, ‘Okay, Angelo, now we gotta make a change, because from behind the tree in the back of the woods, there’s this very lonely girl, her name is Laura Palmer…” In his Brooklyn accent it comes out “Laura Palma,” and as he changes keys and builds to a crescendo, he shuts his eyes and goes on in Lynch’s voice: “‘Oh, that’s it! Angelo, oh, that’s tearin’ my heart out! Now she’s starting to leave, so fall down — keep falling — go back into the dark woods. That’s it. Keep going.’ ” He releases the song’s final chord and opens his eyes, and they shine with love and pride. “David got up, he gave me a big hug, and he said, ‘Angelo, that’s \u003cem>Twin Peaks\u003c/em>.’ ” That’s the way Lynch and Badalamenti worked: a mystic connection through pure instinct and feeling, building off one another until they’d summoned a universe. \u003c/p>\n\u003cfigure id=\"attachment_13922845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a.jpg 1958w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the pilot episode of Twin Peaks, featuring Michael Ontkean as Sheriff Harry S. Truman (left) and Kyle MacLachlan as Special Agent Dale Cooper. \u003ccite>(Peaks'. (Photo by CBS Photo Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tuning into \u003ca href=\"https://www.npr.org/2017/07/19/538091293/twin-peaks-the-return\">the return of Twin Peaks\u003c/a> twenty-five years after the original cliffhanger, I remember it feeling \u003cem>wrong\u003c/em>: Why were we in a cold New York City warehouse? Who were these horrible doppelgängers? Where were the rustic wood interiors? What happened to the world I loved? Of course we’re meant to think this — it’s a deliberate play against our nostalgia — and it isn’t until the new season’s fourth hour that the slow chords of “Laura Palmer’s Theme” crescendo into the background, instantly triggering twenty-five years of memories. In the moment, it felt like home, and today it seems like a miracle, the chance to let Badalamenti tear our hearts out one last time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+fantasia+of+Angelo+Badalamenti%2C+veil-piercing+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922842/angelo-badalamenti-remembrance",
"authors": [
"byline_arts_13922842"
],
"categories": [
"arts_1",
"arts_74",
"arts_1564",
"arts_990"
],
"tags": [
"arts_977",
"arts_1091"
],
"affiliates": [
"arts_10778"
],
"featImg": "arts_13922843",
"label": "arts_10778"
},
"arts_13922580": {
"type": "posts",
"id": "arts_13922580",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922580",
"score": null,
"sort": [
1670615900000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1670615900,
"format": "standard",
"title": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series",
"headTitle": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series | KQED",
"content": "\u003cp>Reviews for the new Netflix series \u003cem>Harry & Meghan\u003c/em>, by Prince Harry and Meghan, the Duchess of Sussex, have been withering in the British press. This is not surprising, given that the couple spends much of the first three episodes attacking Britain’s notorious tabloid media for invading their privacy and some coverage that traded in racist tropes.\u003c/p>\n\u003cp>[aside postid='arts_13919284']Some U.K. newspapers responded in kind to the first three episodes of six. \u003cem>The Telegraph\u003c/em> called the series a “very \u003ca href=\"https://www.telegraph.co.uk/opinion/2022/12/08/sussexes-documentary-californian-exercise-grievance/\">Californian exercise in grievance\u003c/a>.”\u003c/p>\n\u003cp>The \u003cem>Spectator \u003c/em>magazine called it a “\u003ca href=\"https://www.spectator.co.uk/article/harry-and-meghans-netflix-show-is-a-tedious-narcissistic-wallow/\">tedious, narcissistic wallow\u003c/a>.”\u003c/p>\n\u003cp>The criticism, however, did not just come from the political right. Britain’s \u003cem>Guardian\u003c/em>, which is liberal and more likely to be sympathetic to the couple’s politics, called the series “a \u003ca href=\"https://www.theguardian.com/tv-and-radio/live/2022/dec/08/harry-meghan-netflix-documentary-royal-family-media-reaction-live-updates?page=with:block-6391d0888f08f54ad0692bd6\">one-sided PR effort\u003c/a>.”\u003c/p>\n\u003cp>Across the water in Ireland — no fan of the British monarchy — the \u003cem>Irish Times\u003c/em> described the first three hours as “a sometimes unwatchable \u003ca href=\"https://www.irishtimes.com/culture/tv-radio/2022/12/08/harry-meghan-a-heartfelt-gloopy-and-sometimes-unwatchable-plunge-into-planet-sussex/\">plunge into Planet Sussex\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series contains no revelations. Instead, it’s an expanded version of the couple’s perspective on why they left the Royal family nearly two years ago. The couple and their Archewell foundation employees focus on the Royal family’s co-dependent relationship with Britain’s press and the human toll it takes. Tim Burt, who does strategic communications for the foundation, describes the unwritten contract.\u003c/p>\n\u003cp>“The taxpayer in the U.K. pays for the royal family and in return for those payments, there is an expectation that the Royal family will be available to the media,” says Burt, “and this is a sense of ‘We pay, you pose.’ ”\u003c/p>\n\u003cp>[aside postid='arts_13866072']Harry sees this as a power struggle.\u003c/p>\n\u003cp>“It all comes down to control,” he says. “It’s like this family is ours to exploit. Their trauma is our story and our narrative to control\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>The first episode covers the couple’s secret courtship and romance, which struck a chord with some viewers.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’ve always been ‘Team Harry and Meghan,’ ” said Ateh Jewell, who writes about the beauty industry, speaking on Britain’s ITV on Thursday. “She’s been painted as a scheming, predatory, prince-hunting woman. And I think the first episode shows that they have a deep love, a \u003ca href=\"https://www.youtube.com/watch?v=QZ5ai4pSw98\">friendship and a connection\u003c/a>.”\u003c/p>\n\u003cp>The “Team Harry” framing highlights the polarizing effect the couple have here. Their supporters see them as principled activists who have called out racism in Britain and the Royal family at great personal cost. Their detractors see them as complainers and ingrates who turned their back on the country after it welcomed Meghan and threw the couple a spectacular wedding at Windsor Castle in 2018.\u003c/p>\n\u003cp>Opinion on Prince Harry in his homeland is divided. A few years ago, he was among the most popular royals, with ratings that rivaled his late grandmother, Queen Elizabeth. Today his popularity \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Harry_Duke_of_Sussex\">sits at just 38%\u003c/a>, according to research firm YouGov.\u003c/p>\n\u003cp>Only \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Meghan_Duchess_of_Sussex\">27% of people here\u003c/a> like Meghan, according to YouGov, while a slight majority don’t.\u003c/p>\n\u003cp>[aside postid='arts_13893693']Among them is Jan Veale, a retired hairdresser from Devon, in southwest England. Veale doesn’t like the couple and plans to hate-watch the series.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I am glad they’ve made it, because I don’t like what they’ve done to the Royal family,” said Veale, while strolling around London’s Covent Garden on Thursday looking at the Christmas lights. “I think this will make people hate them even more and I’m glad of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR London producer Morgan Ayre contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+thumbs-down+in+the+U.K.+for+Harry+and+Meghan%27s+Netflix+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 648,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705006072,
"excerpt": "Even critics in Britain’s liberal media panned ‘Harry & Meghan,’ the new Netflix documentary series about the couple.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Even critics in Britain’s liberal media panned ‘Harry & Meghan,’ the new Netflix documentary series about the couple.",
"title": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series",
"datePublished": "2022-12-09T11:58:20-08:00",
"dateModified": "2024-01-11T12:47:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "its-thumbs-down-in-the-uk-for-harry-and-meghans-netflix-series",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1141845597&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 09 Dec 2022 09:48:35 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 09 Dec 2022 09:49:35 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/12/09/1141845597/harry-and-meghan-netflix-reviews?ft=nprml&f=1141845597",
"nprImageAgency": "AFP via Getty Images",
"nprStoryId": "1141845597",
"nprByline": "Frank Langfitt",
"sticky": false,
"nprImageCredit": "Daniel Leal",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 09 Dec 2022 09:49:00 -0500",
"path": "/arts/13922580/its-thumbs-down-in-the-uk-for-harry-and-meghans-netflix-series",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reviews for the new Netflix series \u003cem>Harry & Meghan\u003c/em>, by Prince Harry and Meghan, the Duchess of Sussex, have been withering in the British press. This is not surprising, given that the couple spends much of the first three episodes attacking Britain’s notorious tabloid media for invading their privacy and some coverage that traded in racist tropes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13919284",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Some U.K. newspapers responded in kind to the first three episodes of six. \u003cem>The Telegraph\u003c/em> called the series a “very \u003ca href=\"https://www.telegraph.co.uk/opinion/2022/12/08/sussexes-documentary-californian-exercise-grievance/\">Californian exercise in grievance\u003c/a>.”\u003c/p>\n\u003cp>The \u003cem>Spectator \u003c/em>magazine called it a “\u003ca href=\"https://www.spectator.co.uk/article/harry-and-meghans-netflix-show-is-a-tedious-narcissistic-wallow/\">tedious, narcissistic wallow\u003c/a>.”\u003c/p>\n\u003cp>The criticism, however, did not just come from the political right. Britain’s \u003cem>Guardian\u003c/em>, which is liberal and more likely to be sympathetic to the couple’s politics, called the series “a \u003ca href=\"https://www.theguardian.com/tv-and-radio/live/2022/dec/08/harry-meghan-netflix-documentary-royal-family-media-reaction-live-updates?page=with:block-6391d0888f08f54ad0692bd6\">one-sided PR effort\u003c/a>.”\u003c/p>\n\u003cp>Across the water in Ireland — no fan of the British monarchy — the \u003cem>Irish Times\u003c/em> described the first three hours as “a sometimes unwatchable \u003ca href=\"https://www.irishtimes.com/culture/tv-radio/2022/12/08/harry-meghan-a-heartfelt-gloopy-and-sometimes-unwatchable-plunge-into-planet-sussex/\">plunge into Planet Sussex\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series contains no revelations. Instead, it’s an expanded version of the couple’s perspective on why they left the Royal family nearly two years ago. The couple and their Archewell foundation employees focus on the Royal family’s co-dependent relationship with Britain’s press and the human toll it takes. Tim Burt, who does strategic communications for the foundation, describes the unwritten contract.\u003c/p>\n\u003cp>“The taxpayer in the U.K. pays for the royal family and in return for those payments, there is an expectation that the Royal family will be available to the media,” says Burt, “and this is a sense of ‘We pay, you pose.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866072",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Harry sees this as a power struggle.\u003c/p>\n\u003cp>“It all comes down to control,” he says. “It’s like this family is ours to exploit. Their trauma is our story and our narrative to control\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>The first episode covers the couple’s secret courtship and romance, which struck a chord with some viewers.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’ve always been ‘Team Harry and Meghan,’ ” said Ateh Jewell, who writes about the beauty industry, speaking on Britain’s ITV on Thursday. “She’s been painted as a scheming, predatory, prince-hunting woman. And I think the first episode shows that they have a deep love, a \u003ca href=\"https://www.youtube.com/watch?v=QZ5ai4pSw98\">friendship and a connection\u003c/a>.”\u003c/p>\n\u003cp>The “Team Harry” framing highlights the polarizing effect the couple have here. Their supporters see them as principled activists who have called out racism in Britain and the Royal family at great personal cost. Their detractors see them as complainers and ingrates who turned their back on the country after it welcomed Meghan and threw the couple a spectacular wedding at Windsor Castle in 2018.\u003c/p>\n\u003cp>Opinion on Prince Harry in his homeland is divided. A few years ago, he was among the most popular royals, with ratings that rivaled his late grandmother, Queen Elizabeth. Today his popularity \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Harry_Duke_of_Sussex\">sits at just 38%\u003c/a>, according to research firm YouGov.\u003c/p>\n\u003cp>Only \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Meghan_Duchess_of_Sussex\">27% of people here\u003c/a> like Meghan, according to YouGov, while a slight majority don’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13893693",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Among them is Jan Veale, a retired hairdresser from Devon, in southwest England. Veale doesn’t like the couple and plans to hate-watch the series.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I am glad they’ve made it, because I don’t like what they’ve done to the Royal family,” said Veale, while strolling around London’s Covent Garden on Thursday looking at the Christmas lights. “I think this will make people hate them even more and I’m glad of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR London producer Morgan Ayre contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+thumbs-down+in+the+U.K.+for+Harry+and+Meghan%27s+Netflix+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922580/its-thumbs-down-in-the-uk-for-harry-and-meghans-netflix-series",
"authors": [
"byline_arts_13922580"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8302",
"arts_3423",
"arts_3324",
"arts_8580",
"arts_8126"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13922581",
"label": "arts_137"
},
"arts_13922327": {
"type": "posts",
"id": "arts_13922327",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922327",
"score": null,
"sort": [
1670261035000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1670261035,
"format": "aside",
"title": "Bob McGrath, Longtime Star of 'Sesame Street,' Dies at 90",
"headTitle": "Bob McGrath, Longtime Star of ‘Sesame Street,’ Dies at 90 | KQED",
"content": "\u003cfigure id=\"attachment_13922328\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg\" alt=\"A man in a suit and bowtie waves to the camera in a dark room\" width=\"640\" height=\"739\" class=\"size-large wp-image-13922328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-800x924.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-768x887.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1330x1536.jpg 1330w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1774x2048.jpg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1920x2217.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob McGrath is seen at the 2010 AFTRA AMEE Awards in 2010. McGrath, the longtime, original cast member of the iconic children’s show ‘Sesame Street,’ died on Sunday. \u003ccite>(Larry Busacca/Getty Images for AFTRA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob McGrath, an actor and recording artist who was an original cast member on \u003cem>Sesame Street\u003c/em>, died on Sunday. He was 90.\u003c/p>\n\u003cp>McGrath died of complications from a stroke, his daughter Cat McGrath confirmed to NPR.\u003c/p>\n\u003cp>The actor’s death was announced by family members on social media: “He died peacefully at home, surrounded by his family,” read the post on McGrath’s \u003ca href=\"https://www.facebook.com/bob.mcgrath.7165/posts/pfbid09EXZXQucDg3iyoGrSGkKe85JpsYsGTztXkvrZyVJPvD5NDw8U67T6fcNSvzfSxa6l\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>McGrath, one of \u003cem>Sesame\u003c/em> \u003cem>Street\u003c/em>‘s first human cast members who starred in the children’s television show 1969 pilot, became a show regular for nearly five decades, playing the friendly neighbor character Bob Johnson, alongside Big Bird and a host of other beloved Muppets.\u003c/p>\n\u003cp>[aside postID='arts_11867386']Sesame Workshop shared a statement on social media mourning “a beloved member of the Sesame Street family for over 50 years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bob embodied the melodies of Sesame Street like no one else, and his performances brought joy and wonder to generations of children around the world, whether teaching them the ABCs, the people in their neighborhood, or the simple joy of feeling music in their hearts,” the \u003ca href=\"https://twitter.com/SesameWorkshop/status/1599557469113843712?s=20&t=R0_Yt6RkyIwYUKeNJTclBQ\">Workshop said on Twitter\u003c/a>.\u003c/p>\n\u003cp>Born in Ottawa, Ill., McGrath studied music at the University of Michigan and, later, the Manhattan School of Music. McGrath was a veteran performer by the time Sesame Street recruited him. In 1962, NBC brought on the tenor singer to perform as part of Mitch Miller’s family-friendly ensemble TV show, \u003cem>Sing Along With Mitch\u003c/em>. After the show was canceled two years later, McGrath continued to sing with the group, holding down a residency at Las Vegas’ Desert Inn. He took his talents on tour in Japan, where he found a fervent teenage fanbase, \u003ca href=\"https://bob-mcgrath.com/bob/\">according to the biography page on his website\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13922332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg\" alt=\"A parade float with a Sesame Street theme moves down Broadway in New York City \" width=\"800\" height=\"593\" class=\"size-full wp-image-13922332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-768x569.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sesame Street’s Bob McGrath waves to the crowd while riding on a float during the 2009 Macy’s Thanksgiving Day parade in New York City. The longtime, original cast member of the iconic children’s show died on Sunday.\u003cbr> \u003ccite>(Michael Loccisano/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Dave Connell, a fellow University of Michigan alum who worked as a producer for \u003cem>Captain Kangaroo\u003c/em> before executive producing \u003cem>Sesame Street\u003c/em>, who approached McGrath about auditioning for the kids show. \u003c/p>\n\u003cp>McGrath, who hoped instead to break into the U.S. teenage market with his own show, according to his site, had no interest in working on a children’s program at first. \u003c/p>\n\u003cp>But after he was shown tapes of Muppets creator Jim Henson’s work, he \u003ca href=\"https://www.youtube.com/watch?v=AYv83c2ZYXA\">told a crowd at a 2016 convention in Florida\u003c/a>, he was “totally blown away.”\u003c/p>\n\u003cp>“I thought, to heck with that teenage thing, this is what I want to do,” he said. “Because it was obvious from the very, very beginning this was going to be a very unique and incredible show.”\u003c/p>\n\u003cp>[aside postID='arts_11864851']In 2017, \u003ca href=\"https://www.npr.org/2016/08/03/488548572/c-is-for-contract-longtime-actors-in-grown-up-dispute-with-sesame-street\">Sesame Workshop cut McGrath\u003c/a> and two other longtime cast members from the show, deciding not to renew their contracts. In response to the cast shakeup, the \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\">Workshop had pointed\u003c/a> to its need to constantly adapt its content to children’s educational needs.\u003c/p>\n\u003cp>Although McGrath ended his run on the show that year, he continued to make public appearances tied to Sesame Street, including his feature in the 2021 HBO documentary \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McGrath, a father to five children and a grandfather to eight, is survived by his wife Ann Sperry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+McGrath%2C+longtime+star+of+%27Sesame+Street%2C%27+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 633,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705006094,
"excerpt": "McGrath, who starred as 'Bob Johnson' on the beloved children's program, died on Sunday after complications from a stroke, according to his family.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "McGrath, who starred as 'Bob Johnson' on the beloved children's program, died on Sunday after complications from a stroke, according to his family.",
"title": "Bob McGrath, Longtime Star of 'Sesame Street,' Dies at 90 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bob McGrath, Longtime Star of 'Sesame Street,' Dies at 90",
"datePublished": "2022-12-05T09:23:55-08:00",
"dateModified": "2024-01-11T12:48:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bob-mcgrath-longtime-star-of-sesame-street-dies-at-90",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1140661012&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 04 Dec 2022 23:17:19 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sun, 04 Dec 2022 23:35:52 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/12/04/1140661012/bob-mcgrath-sesame-street-died?ft=nprml&f=1140661012",
"nprImageAgency": "Getty Images for AFTRA",
"nprStoryId": "1140661012",
"nprByline": "Emma Bowman",
"sticky": false,
"nprImageCredit": "Larry Busacca",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 04 Dec 2022 23:35:00 -0500",
"path": "/arts/13922327/bob-mcgrath-longtime-star-of-sesame-street-dies-at-90",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13922328\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg\" alt=\"A man in a suit and bowtie waves to the camera in a dark room\" width=\"640\" height=\"739\" class=\"size-large wp-image-13922328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-800x924.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-768x887.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1330x1536.jpg 1330w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1774x2048.jpg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1920x2217.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob McGrath is seen at the 2010 AFTRA AMEE Awards in 2010. McGrath, the longtime, original cast member of the iconic children’s show ‘Sesame Street,’ died on Sunday. \u003ccite>(Larry Busacca/Getty Images for AFTRA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob McGrath, an actor and recording artist who was an original cast member on \u003cem>Sesame Street\u003c/em>, died on Sunday. He was 90.\u003c/p>\n\u003cp>McGrath died of complications from a stroke, his daughter Cat McGrath confirmed to NPR.\u003c/p>\n\u003cp>The actor’s death was announced by family members on social media: “He died peacefully at home, surrounded by his family,” read the post on McGrath’s \u003ca href=\"https://www.facebook.com/bob.mcgrath.7165/posts/pfbid09EXZXQucDg3iyoGrSGkKe85JpsYsGTztXkvrZyVJPvD5NDw8U67T6fcNSvzfSxa6l\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>McGrath, one of \u003cem>Sesame\u003c/em> \u003cem>Street\u003c/em>‘s first human cast members who starred in the children’s television show 1969 pilot, became a show regular for nearly five decades, playing the friendly neighbor character Bob Johnson, alongside Big Bird and a host of other beloved Muppets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11867386",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Sesame Workshop shared a statement on social media mourning “a beloved member of the Sesame Street family for over 50 years.”\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>“Bob embodied the melodies of Sesame Street like no one else, and his performances brought joy and wonder to generations of children around the world, whether teaching them the ABCs, the people in their neighborhood, or the simple joy of feeling music in their hearts,” the \u003ca href=\"https://twitter.com/SesameWorkshop/status/1599557469113843712?s=20&t=R0_Yt6RkyIwYUKeNJTclBQ\">Workshop said on Twitter\u003c/a>.\u003c/p>\n\u003cp>Born in Ottawa, Ill., McGrath studied music at the University of Michigan and, later, the Manhattan School of Music. McGrath was a veteran performer by the time Sesame Street recruited him. In 1962, NBC brought on the tenor singer to perform as part of Mitch Miller’s family-friendly ensemble TV show, \u003cem>Sing Along With Mitch\u003c/em>. After the show was canceled two years later, McGrath continued to sing with the group, holding down a residency at Las Vegas’ Desert Inn. He took his talents on tour in Japan, where he found a fervent teenage fanbase, \u003ca href=\"https://bob-mcgrath.com/bob/\">according to the biography page on his website\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13922332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg\" alt=\"A parade float with a Sesame Street theme moves down Broadway in New York City \" width=\"800\" height=\"593\" class=\"size-full wp-image-13922332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-768x569.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sesame Street’s Bob McGrath waves to the crowd while riding on a float during the 2009 Macy’s Thanksgiving Day parade in New York City. The longtime, original cast member of the iconic children’s show died on Sunday.\u003cbr> \u003ccite>(Michael Loccisano/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Dave Connell, a fellow University of Michigan alum who worked as a producer for \u003cem>Captain Kangaroo\u003c/em> before executive producing \u003cem>Sesame Street\u003c/em>, who approached McGrath about auditioning for the kids show. \u003c/p>\n\u003cp>McGrath, who hoped instead to break into the U.S. teenage market with his own show, according to his site, had no interest in working on a children’s program at first. \u003c/p>\n\u003cp>But after he was shown tapes of Muppets creator Jim Henson’s work, he \u003ca href=\"https://www.youtube.com/watch?v=AYv83c2ZYXA\">told a crowd at a 2016 convention in Florida\u003c/a>, he was “totally blown away.”\u003c/p>\n\u003cp>“I thought, to heck with that teenage thing, this is what I want to do,” he said. “Because it was obvious from the very, very beginning this was going to be a very unique and incredible show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11864851",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In 2017, \u003ca href=\"https://www.npr.org/2016/08/03/488548572/c-is-for-contract-longtime-actors-in-grown-up-dispute-with-sesame-street\">Sesame Workshop cut McGrath\u003c/a> and two other longtime cast members from the show, deciding not to renew their contracts. In response to the cast shakeup, the \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\">Workshop had pointed\u003c/a> to its need to constantly adapt its content to children’s educational needs.\u003c/p>\n\u003cp>Although McGrath ended his run on the show that year, he continued to make public appearances tied to Sesame Street, including his feature in the 2021 HBO documentary \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McGrath, a father to five children and a grandfather to eight, is survived by his wife Ann Sperry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+McGrath%2C+longtime+star+of+%27Sesame+Street%2C%27+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922327/bob-mcgrath-longtime-star-of-sesame-street-dies-at-90",
"authors": [
"byline_arts_13922327"
],
"categories": [
"arts_1",
"arts_235",
"arts_1564",
"arts_990"
],
"tags": [
"arts_16917",
"arts_10278",
"arts_930",
"arts_1091",
"arts_1191"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13922333",
"label": "arts_137"
},
"arts_13922234": {
"type": "posts",
"id": "arts_13922234",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922234",
"score": null,
"sort": [
1670008282000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1670008282,
"format": "standard",
"title": "‘George & Tammy’ Mixes the Delicious and the Dour — Just as the Couple Did",
"headTitle": "‘George & Tammy’ Mixes the Delicious and the Dour — Just as the Couple Did | KQED",
"content": "\u003cp>Before they even met, Tammy Wynette and George Jones were both supremely talented but breathtakingly messy humans. Once the country music legends got together (both personally and professionally), their chemistry was irresistible, but entirely too combustible behind closed doors.\u003c/p>\n\u003cp>At his worst, Jones was selfish, violent and the most destructive of alcoholics. He ditched out on tours, fired guns at people in drunken rages and had zero qualms about driving under the influence — even if it was on a lawnmower because his wife had hidden his car keys. Wynette gave as good as she got: possessive, emotionally manipulative and addicted to painkillers and other prescriptions. The story of Jones and Wynette’s life together is one for the ages — even if their marriage only did last six years.\u003c/p>\n\u003cp>[aside postid='arts_13920514']Given that Wynette died in 1998 and Jones passed on in 2013, it’s a little surprising that the world has had to wait this long for a good fictionalized account of their story. (The 1981 TV movie \u003ca href=\"https://www.youtube.com/watch?v=RNDFWFsn_kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stand By Your Man\u003c/em>\u003c/a> remains legendary for its terrible wigs, though.) Enter Showtime with \u003cem>George & Tammy\u003c/em>, a six-part limited series premiering on Dec. 4.\u003c/p>\n\u003cp>Both Michael Shannon and Jessica Chastain do an admirable job of filling Jones’ and Wynette’s cowboy boots — not an easy task given the stars’ iconic status. The job at hand is made all the more challenging by the fact that Chastain and Shannon provide the vocals for Jones and Wynette’s hits themselves here. While both actors are good singers, unsurprisingly neither can match the vocal prowess of the musicians they are playing — something that grows particularly grating during some of Wynette’s musical numbers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DjrEeuQ5838\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One benefit to having the actors doing the singing, however, is that Chastain and Shannon actually have better onstage chemistry than the real-life Jones and Wynette generally did. In real life, Jones’ habit of never playing a song the same way twice often clumsily \u003ca href=\"https://www.youtube.com/watch?v=Q9KniULwvjE\" target=\"_blank\" rel=\"noopener noreferrer\">collided\u003c/a> with Wynette’s stilted perfectionism. In \u003cem>George & Tammy\u003c/em>, the couple are always better together than they are apart — a delightful embellishment that is fun to watch.\u003c/p>\n\u003cp>[aside postid='arts_13844829']\u003cem>George & Tammy\u003c/em> is excellent at picking out and recreating all of the most important steps in Jones and Wynette’s personal stories and careers, even if the timeline isn’t always exactly right. The show is admirably unflinching when it comes to portraying Jones’ most undignified behavior, down to “Dee-Doodle,” his \u003ca href=\"https://www.youtube.com/watch?v=esSpxsw590Q\" target=\"_blank\" rel=\"noopener noreferrer\">disturbing, cocaine-fueled, duck-voiced alter-ego\u003c/a>. The series also understands the variety of abuses that Wynette endured in the three (of her five) marriages that are depicted here, as well as the very real physical ailments that resulted in her addiction issues.\u003c/p>\n\u003cp>That being said, there is some uncomfortable fabrication in \u003cem>George & Tammy\u003c/em> (\u003ca href=\"https://americansongwriter.com/behind-the-song-he-stopped-loving-her-today/\" target=\"_blank\" rel=\"noopener noreferrer\">Wynette being present for Jones’ recording of “He Stopped Loving Her Today”?\u003c/a> Poppycock!), as well as some glaring omissions. The famous \u003ca href=\"https://www.npr.org/2000/10/28/1113153/tammy-wynettes-stand-by-your-man\" target=\"_blank\" rel=\"noopener noreferrer\">feminist backlash against Wynette’s “Stand By Your Man”\u003c/a> is reduced to a single three-second exchange, for example.\u003c/p>\n\u003cp>In Season 2 of country music history podcast \u003ca href=\"https://cocaineandrhinestones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cocaine and Rhinestones\u003c/em>\u003c/a>, the true story of George Jones and Tammy Wynette is told in painstakingly researched detail. Where \u003cem>George & Tammy\u003c/em> was based almost entirely on their daughter Georgette’s memoir, the makers of \u003cem>Cocaine and Rhinestones\u003c/em> read every book and biography on the topic, fact-checked details and then parsed out the most likely conclusions. That’s probably the best approach when the two people at the center of the story are consistently unreliable narrators — whether for drug, image or ego-related reasons.\u003c/p>\n\u003cp>Though \u003cem>George & Tammy\u003c/em> is an infinitely more moving depiction of Jones and Wynette’s lives than was offered in the podcast, anyone who has listened to \u003cem>Cocaine and Rhinestones \u003c/em>will struggle with the way some of Wynette’s less flattering character traits are omitted from the show. The many times she was caught in major lies, Wynette’s pursuit of her friends’ boyfriends for sport, \u003ca href=\"https://cocaineandrhinestones.com/tammy-wynette-george-richey\" target=\"_blank\" rel=\"noopener noreferrer\">the unconvincingly applied makeup bruises\u003c/a> after her now-infamous falsified kidnapping — all absent from \u003cem>George & Tammy\u003c/em>. (And, in the interest of avoiding spoilers, let’s just say the culprit behind the mysterious graffiti on Wynette’s house looks very different in \u003cem>George & Tammy\u003c/em> from how it was presented in the podcast.)\u003c/p>\n\u003cp>There can be no doubt that the real-life Wynette was a resilient, hard-working and determined woman who was an excellent mother to her four daughters. There’s no questioning her musical clout either. The problem with \u003cem>George & Tammy\u003c/em> is that its depiction of her relies too heavily on the sanitized, victim-centric picture that Wynette painted of herself when she was alive. Because of that, some of the most complicated and fascinating aspects of Wynette’s character are absent here.\u003c/p>\n\u003cp>[aside postid='arts_13922004']All that being said, while \u003cem>George & Tammy\u003c/em> might not be as definitive or clear-cut about the facts as \u003cem>Cocaine and Rhinestones\u003c/em> was, as told here the couple’s story is more powerful. By the end, I found myself pondering the nature of intimate human relationships. Which ones are fated and which are happenstance? Why do some truly great partnerships burn out while other merely average ones go the distance? And why is the public so reluctant to let some celebrity relationships die, even when the couple in question is patently unhealthy for one another?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You won’t find all of the answers in \u003cem>George & Tammy — \u003c/em>but you will have a damn good time watching it.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 971,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705006097,
"excerpt": "A new six-part Showtime series dramatizes the chaos, passion and tragedy of two country music legends.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new six-part Showtime series dramatizes the chaos, passion and tragedy of two country music legends.",
"title": "‘George & Tammy’ Mixes the Delicious and the Dour — Just as the Couple Did | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘George & Tammy’ Mixes the Delicious and the Dour — Just as the Couple Did",
"datePublished": "2022-12-02T11:11:22-08:00",
"dateModified": "2024-01-11T12:48:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "george-and-tammy-wynette-showtime-series-review-cocaine-and-rhinestones",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13922234/george-and-tammy-wynette-showtime-series-review-cocaine-and-rhinestones",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before they even met, Tammy Wynette and George Jones were both supremely talented but breathtakingly messy humans. Once the country music legends got together (both personally and professionally), their chemistry was irresistible, but entirely too combustible behind closed doors.\u003c/p>\n\u003cp>At his worst, Jones was selfish, violent and the most destructive of alcoholics. He ditched out on tours, fired guns at people in drunken rages and had zero qualms about driving under the influence — even if it was on a lawnmower because his wife had hidden his car keys. Wynette gave as good as she got: possessive, emotionally manipulative and addicted to painkillers and other prescriptions. The story of Jones and Wynette’s life together is one for the ages — even if their marriage only did last six years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920514",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Given that Wynette died in 1998 and Jones passed on in 2013, it’s a little surprising that the world has had to wait this long for a good fictionalized account of their story. (The 1981 TV movie \u003ca href=\"https://www.youtube.com/watch?v=RNDFWFsn_kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stand By Your Man\u003c/em>\u003c/a> remains legendary for its terrible wigs, though.) Enter Showtime with \u003cem>George & Tammy\u003c/em>, a six-part limited series premiering on Dec. 4.\u003c/p>\n\u003cp>Both Michael Shannon and Jessica Chastain do an admirable job of filling Jones’ and Wynette’s cowboy boots — not an easy task given the stars’ iconic status. The job at hand is made all the more challenging by the fact that Chastain and Shannon provide the vocals for Jones and Wynette’s hits themselves here. While both actors are good singers, unsurprisingly neither can match the vocal prowess of the musicians they are playing — something that grows particularly grating during some of Wynette’s musical numbers.\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/DjrEeuQ5838'\n title='//www.youtube.com/embed/DjrEeuQ5838'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One benefit to having the actors doing the singing, however, is that Chastain and Shannon actually have better onstage chemistry than the real-life Jones and Wynette generally did. In real life, Jones’ habit of never playing a song the same way twice often clumsily \u003ca href=\"https://www.youtube.com/watch?v=Q9KniULwvjE\" target=\"_blank\" rel=\"noopener noreferrer\">collided\u003c/a> with Wynette’s stilted perfectionism. In \u003cem>George & Tammy\u003c/em>, the couple are always better together than they are apart — a delightful embellishment that is fun to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13844829",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>George & Tammy\u003c/em> is excellent at picking out and recreating all of the most important steps in Jones and Wynette’s personal stories and careers, even if the timeline isn’t always exactly right. The show is admirably unflinching when it comes to portraying Jones’ most undignified behavior, down to “Dee-Doodle,” his \u003ca href=\"https://www.youtube.com/watch?v=esSpxsw590Q\" target=\"_blank\" rel=\"noopener noreferrer\">disturbing, cocaine-fueled, duck-voiced alter-ego\u003c/a>. The series also understands the variety of abuses that Wynette endured in the three (of her five) marriages that are depicted here, as well as the very real physical ailments that resulted in her addiction issues.\u003c/p>\n\u003cp>That being said, there is some uncomfortable fabrication in \u003cem>George & Tammy\u003c/em> (\u003ca href=\"https://americansongwriter.com/behind-the-song-he-stopped-loving-her-today/\" target=\"_blank\" rel=\"noopener noreferrer\">Wynette being present for Jones’ recording of “He Stopped Loving Her Today”?\u003c/a> Poppycock!), as well as some glaring omissions. The famous \u003ca href=\"https://www.npr.org/2000/10/28/1113153/tammy-wynettes-stand-by-your-man\" target=\"_blank\" rel=\"noopener noreferrer\">feminist backlash against Wynette’s “Stand By Your Man”\u003c/a> is reduced to a single three-second exchange, for example.\u003c/p>\n\u003cp>In Season 2 of country music history podcast \u003ca href=\"https://cocaineandrhinestones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cocaine and Rhinestones\u003c/em>\u003c/a>, the true story of George Jones and Tammy Wynette is told in painstakingly researched detail. Where \u003cem>George & Tammy\u003c/em> was based almost entirely on their daughter Georgette’s memoir, the makers of \u003cem>Cocaine and Rhinestones\u003c/em> read every book and biography on the topic, fact-checked details and then parsed out the most likely conclusions. That’s probably the best approach when the two people at the center of the story are consistently unreliable narrators — whether for drug, image or ego-related reasons.\u003c/p>\n\u003cp>Though \u003cem>George & Tammy\u003c/em> is an infinitely more moving depiction of Jones and Wynette’s lives than was offered in the podcast, anyone who has listened to \u003cem>Cocaine and Rhinestones \u003c/em>will struggle with the way some of Wynette’s less flattering character traits are omitted from the show. The many times she was caught in major lies, Wynette’s pursuit of her friends’ boyfriends for sport, \u003ca href=\"https://cocaineandrhinestones.com/tammy-wynette-george-richey\" target=\"_blank\" rel=\"noopener noreferrer\">the unconvincingly applied makeup bruises\u003c/a> after her now-infamous falsified kidnapping — all absent from \u003cem>George & Tammy\u003c/em>. (And, in the interest of avoiding spoilers, let’s just say the culprit behind the mysterious graffiti on Wynette’s house looks very different in \u003cem>George & Tammy\u003c/em> from how it was presented in the podcast.)\u003c/p>\n\u003cp>There can be no doubt that the real-life Wynette was a resilient, hard-working and determined woman who was an excellent mother to her four daughters. There’s no questioning her musical clout either. The problem with \u003cem>George & Tammy\u003c/em> is that its depiction of her relies too heavily on the sanitized, victim-centric picture that Wynette painted of herself when she was alive. Because of that, some of the most complicated and fascinating aspects of Wynette’s character are absent here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922004",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>All that being said, while \u003cem>George & Tammy\u003c/em> might not be as definitive or clear-cut about the facts as \u003cem>Cocaine and Rhinestones\u003c/em> was, as told here the couple’s story is more powerful. By the end, I found myself pondering the nature of intimate human relationships. Which ones are fated and which are happenstance? Why do some truly great partnerships burn out while other merely average ones go the distance? And why is the public so reluctant to let some celebrity relationships die, even when the couple in question is patently unhealthy for one another?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You won’t find all of the answers in \u003cem>George & Tammy — \u003c/em>but you will have a damn good time watching it.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922234/george-and-tammy-wynette-showtime-series-review-cocaine-and-rhinestones",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_7534",
"arts_10278",
"arts_18773",
"arts_8404",
"arts_585"
],
"featImg": "arts_13922248",
"label": "arts_140"
},
"arts_13922004": {
"type": "posts",
"id": "arts_13922004",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13922004",
"score": null,
"sort": [
1669914698000
]
},
"guestAuthors": [],
"slug": "dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"title": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"publishDate": 1669914698,
"format": "standard",
"headTitle": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ooOAxj7mK84\u003c/p>\n\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>[aside postid='arts_13889581']14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>[aside postid='pop_14182']26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>[aside postid='arts_13889748']Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Em8tdr2UBQ0\u003c/p>\n\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>[aside postid='arts_13921477']1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Dolly Parton + Jesus + magic country stars + gratuitous family members + a show within a movie = Absolutely unhinged TV.",
"status": "publish",
"parent": 0,
"modified": 1733168682,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 69,
"wordCount": 3012
},
"headData": {
"title": "‘Dolly Parton’s Magic Mountain Christmas’ By-The-Minute Analysis | KQED",
"description": "Dolly Parton + Jesus + magic country stars + gratuitous family members + a show within a movie = Absolutely unhinged TV.",
"ogTitle": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Dolly Parton’s Magic Mountain Christmas’ By-The-Minute Analysis %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
"datePublished": "2022-12-01T09:11:38-08:00",
"dateModified": "2024-12-02T11:44:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ooOAxj7mK84'\n title='//www.youtube.com/embed/ooOAxj7mK84'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889581",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_14182",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889748",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Em8tdr2UBQ0'\n title='//www.youtube.com/embed/Em8tdr2UBQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921477",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_3388",
"arts_4088",
"arts_10278",
"arts_3247",
"arts_8480",
"arts_6012",
"arts_585"
],
"featImg": "arts_13922029",
"label": "arts_140"
},
"arts_13921929": {
"type": "posts",
"id": "arts_13921929",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921929",
"score": null,
"sort": [
1669229517000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1669229517,
"format": "standard",
"title": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe",
"headTitle": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe | KQED",
"content": "\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKOegEuCcfw\u003c/p>\n\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920462']The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>[aside postid='arts_13889379']“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>[aside postid='arts_13903607']Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That it all will take place as far away from %##*&! Tatooine as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Andor%27+soared+%E2%80%94+it+was+about+the+force%2C+not+The+Force%2C+of+the+Star+Wars+universe+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1186,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705006131,
"excerpt": "No lightsabers, no Jedi, no Tatooine: ‘Andor’ ditched familiar ‘Star Wars’ trappings to document the face of fascism.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "No lightsabers, no Jedi, no Tatooine: ‘Andor’ ditched familiar ‘Star Wars’ trappings to document the face of fascism.",
"title": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe",
"datePublished": "2022-11-23T10:51:57-08:00",
"dateModified": "2024-01-11T12:48:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1137826237&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 23 Nov 2022 05:00:16 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 23 Nov 2022 05:00:16 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/23/1137826237/star-wars-andor-finale?ft=nprml&f=1137826237",
"nprImageAgency": "Lucasfilm Ltd.",
"nprStoryId": "1137826237",
"nprByline": "Glen Weldon",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 23 Nov 2022 05:00:00 -0500",
"path": "/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cKOegEuCcfw'\n title='//www.youtube.com/embed/cKOegEuCcfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920462",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889379",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903607",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That it all will take place as far away from %##*&! Tatooine as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Andor%27+soared+%E2%80%94+it+was+about+the+force%2C+not+The+Force%2C+of+the+Star+Wars+universe+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe",
"authors": [
"byline_arts_13921929"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_3114",
"arts_3797",
"arts_3241"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921930",
"label": "arts_137"
},
"arts_13921866": {
"type": "posts",
"id": "arts_13921866",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921866",
"score": null,
"sort": [
1669148936000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1669148936,
"format": "standard",
"title": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama",
"headTitle": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama | KQED",
"content": "\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>[aside postid='arts_13921169']For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. The family with the most points gets to play fast money, where two people need to answer rapid-fire to get enough points to win the cash prize.\u003c/p>\n\u003cp>So why \u003cem>Family Feud\u003c/em>? It’s kitschy and a bit silly — the \u003ca href=\"https://www.youtube.com/watch?v=QLSXaMibtTE\">YouTube highlights\u003c/a> never get old. It’s a game show that’s \u003cem>just\u003c/em> challenging enough. And ultimately, it’s the low-stakes drama we all need.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V_hbpLufakg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My journey started with casual viewing. I grew up in a house without cable, and there were only so many things to keep us entertained when babysitting our younger sisters. The game show hit that sweet spot when we weren’t old enough to appreciate \u003cem>Jeopardy! \u003c/em>but felt too old for cartoons (the \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\">”I’m Not A Girl, Not Yet A Woman”\u003c/a> phase.) We started when Richard Karn of \u003cem>Home Improvement\u003c/em> hosted, kept it up when \u003cem>Seinfeld’\u003c/em>s John O’Hurley took over, and we remain loyal viewers of the current Steve Harvey version. But truthfully, the host isn’t even a selling point for us — we are laser-focused on the game.\u003c/p>\n\u003cp>[aside postid='arts_13920298']The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o6gD9_akew0\u003c/p>\n\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>[aside postid='arts_13907974']But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 796,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006135,
"excerpt": "'Family Feud' is kitschy and a bit silly, but it forces me to take a step back and think about the larger human experience.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Family Feud' is kitschy and a bit silly, but it forces me to take a step back and think about the larger human experience.",
"title": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama",
"datePublished": "2022-11-22T12:28:56-08:00",
"dateModified": "2024-01-11T12:48:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "family-feud-unites-us-by-fulfilling-a-basic-human-need-low-stakes-drama",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1090067612&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 21 Nov 2022 07:00:30 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 21 Nov 2022 07:00:30 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/21/1090067612/family-feud-steve-harvey-drama?ft=nprml&f=1090067612",
"nprImageAgency": "ABC via Getty Images",
"nprStoryId": "1090067612",
"nprByline": "Arielle Retting",
"sticky": false,
"nprImageCredit": "Byron Cohen",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 21 Nov 2022 07:00:00 -0500",
"path": "/arts/13921866/family-feud-unites-us-by-fulfilling-a-basic-human-need-low-stakes-drama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921169",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. The family with the most points gets to play fast money, where two people need to answer rapid-fire to get enough points to win the cash prize.\u003c/p>\n\u003cp>So why \u003cem>Family Feud\u003c/em>? It’s kitschy and a bit silly — the \u003ca href=\"https://www.youtube.com/watch?v=QLSXaMibtTE\">YouTube highlights\u003c/a> never get old. It’s a game show that’s \u003cem>just\u003c/em> challenging enough. And ultimately, it’s the low-stakes drama we all need.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/V_hbpLufakg'\n title='//www.youtube.com/embed/V_hbpLufakg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My journey started with casual viewing. I grew up in a house without cable, and there were only so many things to keep us entertained when babysitting our younger sisters. The game show hit that sweet spot when we weren’t old enough to appreciate \u003cem>Jeopardy! \u003c/em>but felt too old for cartoons (the \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\">”I’m Not A Girl, Not Yet A Woman”\u003c/a> phase.) We started when Richard Karn of \u003cem>Home Improvement\u003c/em> hosted, kept it up when \u003cem>Seinfeld’\u003c/em>s John O’Hurley took over, and we remain loyal viewers of the current Steve Harvey version. But truthfully, the host isn’t even a selling point for us — we are laser-focused on the game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920298",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o6gD9_akew0'\n title='//www.youtube.com/embed/o6gD9_akew0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13907974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921866/family-feud-unites-us-by-fulfilling-a-basic-human-need-low-stakes-drama",
"authors": [
"byline_arts_13921866"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8482",
"arts_16405",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921867",
"label": "arts_137"
},
"arts_13921493": {
"type": "posts",
"id": "arts_13921493",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921493",
"score": null,
"sort": [
1668532362000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1668532362,
"format": "standard",
"title": "‘More Than Past Due’: Erika Alexander on Reparations and ‘The Big Payback’",
"headTitle": "‘More Than Past Due’: Erika Alexander on Reparations and ‘The Big Payback’ | KQED",
"content": "\u003cp>California may be \u003ca href=\"https://www.kqed.org/reparations\">the first state to study reparations for Black people\u003c/a>, but at the municipal level, Evanston, Ill., leads the country. In 2019, the city became the first in the United States to approve a program to redress the harms of segregation and housing discrimination endured by Black people since emancipation.\u003c/p>\n\u003cp>Evanston’s $10 million package, funded through a tax on recreational cannabis sales, will be dispersed for reparations initiatives over the span of 10 years to residents who qualify. In January of this year, 16 recipients, who were selected through a lottery, received $25,000 housing grants.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"news_11916026,news_11925020\"]Evanston’s success and the ongoing fight for reparations in Congress both get a closer look in \u003ci>The Big Payback\u003c/i>, a documentary that premiered at the Tribeca Festival earlier this year; it debuts on PBS/KQED 9 on Jan. 19, 2023. It’s co-directed by filmmaker Whitney Dow and actor and activist Erika Alexander, best known for bringing the beloved character Maxine Shaw (Attorney at Law!) to life on the ’90s sitcom \u003cem>Living Single\u003c/em>.\u003c/p>\n\u003cp>KQED talked with Alexander about the film, her activism and how her character Maxine Shaw inspired many Black women to pursue law and politics.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>KQED: What sparked the idea for \u003ci>The Big Payback\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Erika Alexander:\u003c/strong> I’ve been doing work within advocacy and activism for quite a while. I was Hillary Clinton’s most traveled surrogate for 2007 and 2016. I met Ben Arnon, who was a Barack Obama delegate, in 2008, and we started a company called Color Farm Media. Our goal was to represent underestimated, marginalized voices.\u003c/p>\n\u003cp>Our first film was the documentary \u003ca href=\"https://www.youtube.com/watch?v=z_oEkOdIXdo\">\u003ci>John Lewis: Good Trouble\u003c/i>\u003c/a>. After that, we wanted to do something about reparations. Whitney Dow — my white, male co-director — and I started at the Congressional reparations hearing in 2019, with Sheila Jackson Lee [and the bill] HR 40. While we were filming, we got a message from our producer, Zane Parker, who told us about Evanston and Robin Rue Simmons, the woman who passed the first \u003ca href=\"https://www.washingtonpost.com/national/evanston-illinois-reparations/2021/03/22/6b5a308c-8b2d-11eb-9423-04079921c915_story.html\">tax-funded reparations bill\u003c/a> in America. So we went to Evanston, and decided to change our entire P.O.V.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wmIyxpxboTs\u003c/p>\n\u003cp>\u003cstrong>What stood out to you about Robin Rue Simmons, who was a local alderwoman at the time you filmed her?\u003c/strong>\u003c/p>\n\u003cp>She’s an amazing young woman who I don’t think really knew much about the reparations arena, but she had been inspired by a trip that she took to Africa. And so she proposed the idea of a reparations bill. And one of her councilwomen said, well, there’s a new tax on cannabis — and that gave them the necessary ammunition and the actual funding.\u003c/p>\n\u003cp>They passed it with a mostly white council. From there was the tough job of how to implement it, and to whom, and she hadn’t really thought of those things. But I think because she didn’t know much about it, and she just knew she had the energy and they had these new funds, they got it done. She’s pretty phenomenal. She was just determined.\u003c/p>\n\u003cfigure id=\"attachment_13921541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg\" alt=\"a scene from a film shows a Black man and a Black woman discussing legislation at a table\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former Evanston, Ill. Alderwoman Robin Rue Simmons in ‘The Big Payback.’ \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The vice chair of California’s Task Force, longtime civil rights leader Amos Brown, has spoken about three “A’s” — \u003ci>admitting\u003c/i> the problems of the past; \u003ci>atoning\u003c/i> for them with reparations; and then \u003ci>acting\u003c/i> in a unified way that ensures the plans get carried out. Especially at the federal level, it seems like we’re still working on the first step.\u003c/strong>\u003c/p>\n\u003cp>When I started this journey, I mistook the reparations movement for a personal admission and an apology, or payment toward the moral debt, toward me as an African American and my fellow African Americans. But now I’m convinced because of the work, and I’ve been educated by experts on the issue, that that’s a very limited point of view. This debt resides within the fabric of America. So racism, all the residual evils that reside within the DNA — redlining, terrorism, all sorts of horrible, ugly things — are not an individual obligation to pay. It is for the government to admit, apologize and then make reparations.\u003c/p>\n\u003cp>So however we’re talking about this, we all need to educate ourselves, because it’s going to be a lengthy process if we don’t come to the point where this is not about charity — as a woman so wonderfully puts it in the movie — it’s about justice. We are owed. We are more than past due.\u003c/p>\n\u003cp>\u003cstrong>What roadblocks did Rue Simmons and her allies have to navigate?\u003c/strong>\u003c/p>\n\u003cp>The biggest roadblock is money. Funding. The other big roadblock is the natural pushback that people feel — that “this is in the past and we shouldn’t have to address it,” or “they should have addressed it back then.” And they tried with the First Reconstruction. But we know that after Abraham Lincoln died, and \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15/\">Sherman’s Special Field Order 15\u003c/a> was rescinded and we got Andrew Johnson, that Black people had no more power and they were pushed out of the power they had. And then it was just decades of them really suffering a different type of slavery and being unyolked from the system.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Erika Alexander\"]‘I believe that unless we [make reparations], America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.’[/pullquote]To ask people who had no power “Why didn’t they get [reparations] then?” is absurd. But there were people who did [fight for reparations]. \u003ca href=\"https://www.usf.edu/cbcs/documents/marketing/communique/callie-house.pdf\">Callie House\u003c/a> and \u003ca href=\"https://www.aaihs.org/audley-moore-black-womens-activism-and-nationalist-politics/\">Queen Mother Moore\u003c/a> and all sorts of figures came in. \u003ca href=\"https://www.history.com/topics/black-history/marcus-garvey\">Marcus Garvey\u003c/a> trying to get reparations and restitutions and repairs. It’s a long history.\u003c/p>\n\u003cp>\u003cstrong>Rep. Sheila Jackson Lee of Texas is also a key figure in the documentary. Can you talk about her work on a federal level?\u003c/strong>\u003c/p>\n\u003cp>She took up a bill, \u003ca href=\"https://www.congress.gov/bill/117th-congress/house-bill/40\">HR 40\u003c/a>, that was introduced into Congress by John Conyers from Detroit, simply trying to study reparations. [If the resolution had passed] they would have had the power to go into all sorts of institutions, backlogs and libraries and see the case for reparations. And they did not get that through at all.\u003c/p>\n\u003cp>In 2020, she made progress, but then \u003ca href=\"https://andscape.com/features/h-r-40-the-federal-bill-to-study-reparations-appears-stalled-once-again/\">it stalled again\u003c/a>, because she didn’t have the votes to move it forward. Now, an executive decision from Biden could bypass all of that. And we were all hoping that would happen. But because reparations is such a controversial subject … there’s a lot of people who would have to own up to [the history]. There’s been a lot of pushback.\u003c/p>\n\u003cp>So that’s what she’s been doing, and that’s what she’ll continue to do, and hopefully get the political will. Mostly, this president should sign an executive decision to get on to what’s right. Because I really believe that unless we do that, America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.\u003c/p>\n\u003cfigure id=\"attachment_13921550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg\" alt=\"a press conference on Capitol Hill; a Black man stands next to a Black woman speaking at a podium\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rep. Danny K. Davis listens as Rep. Sheila Jackson Lee speaks at a press conference on HR 40, which would create a commission to study and develop reparation proposals for African Americans, on Nov. 16, 2021. \u003ccite>(Anna Moneymaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rue Simmons was an alderwoman, a local government official, at the time you filmed her. Can you talk about the significance of her holding local office during that fight?\u003c/strong>\u003c/p>\n\u003cp>They say everything is about “the local weather.” And it’s true. You’re always looking at the national political willpower or what’s on the [national] ballot because it’s sexy. But everything happens at a local level first. And we’re starting to understand that, if you look at the race in Georgia with Stacey Abrams and [Brian] Kemp, and with [Raphael] Warnock and Herschel Walker, they’re seeing how very directly they’ll either progress or regress, depending on what they choose.\u003c/p>\n\u003cp>One of the things I’ll never forget [is] Hillary Clinton warning that they would turn back Roe v. Wade. And at the time, I thought ‘That’s a little bit too much, don’t you think?’ But everything she said was right. They did turn back Roe v. Wade. So here we are locally trying to, state by state, protect women’s right to choose. And people can now see that nothing is sacrosanct. I think that we’re all getting a really good lesson about participating in local elections.\u003c/p>\n\u003cp>\u003cstrong>You played a fictional alderwoman and attorney as Maxine Shaw in the ’90s hit \u003ci>Living Single\u003c/i> — my favorite show of all time. And that character has been influential to real-life political figures: Stacey Abrams, Rep. Ayanna Pressley and the state attorney in Baltimore, Marilyn Mosby, have all said they were inspired by that character. Were you also inspired by getting to play a local official?\u003c/strong>\u003c/p>\n\u003cp>You know what’s funny? There are no alderwomen in Brooklyn [where \u003ci>Living Single\u003c/i> took place]! Only Chicago and other places. I didn’t know that then. And I don’t think Yvette Lee Bowser, who created the show, did either. I did like doing that. And [that character] was definitely somebody who was bold.\u003c/p>\n\u003cp>But I’m more inspired by people like you, and Ayanna Pressley, Stacey Abrams, and some of the really fantastic young Black women I meet that are so sure of their mission and their commitment to life. I got a chance to campaign with [activist and media strategist] Jehmu Greene, who taught me all that I know about local politics and how to speak to people. I got a chance to campaign with Sheila Jackson Lee and with Ayanna and Stacey and John Lewis. And each time I do, I learn something. I’m like a sponge. I’m meant to be a mimic and then go and put it somewhere else.\u003c/p>\n\u003cp>I was just watching a movie I did when I was 19, called \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0_DZnX22XjM\">Common Ground\u003c/a>,\u003c/i> about the Boston bussing. It was as horrible and stressful to look at as anything you might see down South — I think they wanted to make the point that the South wasn’t the only place that pushed back [on integration]. I remember getting so sick and stressed on set and breaking out, not being able to stand for long periods. And I didn’t think then that it was the role or the subject. But now I’ve been realizing that I’ve been doing my work inside of racial and social justice issues for my entire career.\u003c/p>\n\u003cp>I look at \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0FJSosGKclM\">The Long Walk Home\u003c/a>.\u003c/i> There I was, Selma, getting on the bus. I learned from each one of these people. But it’s also because of the people I worked with previously, [like] Phylicia Rashad. I worked with the great Cicely Tyson, Lorraine Toussaint, Gloria Foster. They were killers, and they taught me how to be — not only to be a woman, but to be a strong person. That’s what you see in these roles.\u003c/p>\n\u003cfigure id=\"attachment_13921542\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\" alt=\"a white man and a Black woman smile in a portrait on a staircase\" width=\"750\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen-160x101.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Color Farm Media co-founders Ben Arnon and Erika Alexander. \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now you’ve added director to your roles. Can you share more about your goals with Color Farm Media?\u003c/strong>\u003c/p>\n\u003cp>We call ourselves “the Motown of film, television and tech.” We want to create collaborative projects with talented people. And it’s been a tough road. No one wants to fund a media company, let alone one that’s focused on so-called “marginalized groups.” But we believe that we are in the avant-garde. So I’m going to do more of that.\u003c/p>\n\u003cp>I want to do not only shows that look like \u003ci>The Woman King\u003c/i> and \u003ci>Black Panther\u003c/i>, but also more documentaries and tech-forward platforms, anything that can mix it up and create a global conversation about what it is to be human. I am fueled by storytelling. I can’t stop thinking about stories. And everywhere I go, I see and hear and talk about stories.\u003c/p>\n\u003cp>I think about how I was discovered when I was 14, in a Merchant Ivory film, to play a foster child in a group home. I think about the story of my life, where I was raised by two orphans and got a chance to go from the mountains of Arizona to Philadelphia, to get a chance to audition and get my Screen Actors Guild card and become part of the union, and go around the world with Royal Shakespeare Theater. All these things I got to do because somebody thought that this face and this person would be good at storytelling. So I still do those things. And I guess that’s my ticket to ride nowadays.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>Erika Alexander, Whitney Dow and Robin Rue Simmons appear in a live public panel discussion at KQED hosted by Ariana Proehl on Thursday, Jan. 12, 2023. ‘The Big Payback’ airs Thursday, Jan. 19, 2023, on KQED Channel 9 at 10 p.m. \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2322,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 37
},
"modified": 1705006162,
"excerpt": "A new documentary goes behind the scenes of the reparations movement, with two determined Black women politicians front and center. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new documentary goes behind the scenes of the reparations movement, with two determined Black women politicians front and center. ",
"title": "‘More Than Past Due’: Erika Alexander on Reparations and ‘The Big Payback’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘More Than Past Due’: Erika Alexander on Reparations and ‘The Big Payback’",
"datePublished": "2022-11-15T09:12:42-08:00",
"dateModified": "2024-01-11T12:49:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "erika-alexander-reparations-the-big-payback",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"WpOldSlug": "more-than-past-due-erika-alexander-on-reparations-and-the-big-payback",
"path": "/arts/13921493/erika-alexander-reparations-the-big-payback",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California may be \u003ca href=\"https://www.kqed.org/reparations\">the first state to study reparations for Black people\u003c/a>, but at the municipal level, Evanston, Ill., leads the country. In 2019, the city became the first in the United States to approve a program to redress the harms of segregation and housing discrimination endured by Black people since emancipation.\u003c/p>\n\u003cp>Evanston’s $10 million package, funded through a tax on recreational cannabis sales, will be dispersed for reparations initiatives over the span of 10 years to residents who qualify. In January of this year, 16 recipients, who were selected through a lottery, received $25,000 housing grants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "Related Stories ",
"postid": "news_11916026,news_11925020"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Evanston’s success and the ongoing fight for reparations in Congress both get a closer look in \u003ci>The Big Payback\u003c/i>, a documentary that premiered at the Tribeca Festival earlier this year; it debuts on PBS/KQED 9 on Jan. 19, 2023. It’s co-directed by filmmaker Whitney Dow and actor and activist Erika Alexander, best known for bringing the beloved character Maxine Shaw (Attorney at Law!) to life on the ’90s sitcom \u003cem>Living Single\u003c/em>.\u003c/p>\n\u003cp>KQED talked with Alexander about the film, her activism and how her character Maxine Shaw inspired many Black women to pursue law and politics.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>KQED: What sparked the idea for \u003ci>The Big Payback\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Erika Alexander:\u003c/strong> I’ve been doing work within advocacy and activism for quite a while. I was Hillary Clinton’s most traveled surrogate for 2007 and 2016. I met Ben Arnon, who was a Barack Obama delegate, in 2008, and we started a company called Color Farm Media. Our goal was to represent underestimated, marginalized voices.\u003c/p>\n\u003cp>Our first film was the documentary \u003ca href=\"https://www.youtube.com/watch?v=z_oEkOdIXdo\">\u003ci>John Lewis: Good Trouble\u003c/i>\u003c/a>. After that, we wanted to do something about reparations. Whitney Dow — my white, male co-director — and I started at the Congressional reparations hearing in 2019, with Sheila Jackson Lee [and the bill] HR 40. While we were filming, we got a message from our producer, Zane Parker, who told us about Evanston and Robin Rue Simmons, the woman who passed the first \u003ca href=\"https://www.washingtonpost.com/national/evanston-illinois-reparations/2021/03/22/6b5a308c-8b2d-11eb-9423-04079921c915_story.html\">tax-funded reparations bill\u003c/a> in America. So we went to Evanston, and decided to change our entire P.O.V.\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/wmIyxpxboTs'\n title='//www.youtube.com/embed/wmIyxpxboTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What stood out to you about Robin Rue Simmons, who was a local alderwoman at the time you filmed her?\u003c/strong>\u003c/p>\n\u003cp>She’s an amazing young woman who I don’t think really knew much about the reparations arena, but she had been inspired by a trip that she took to Africa. And so she proposed the idea of a reparations bill. And one of her councilwomen said, well, there’s a new tax on cannabis — and that gave them the necessary ammunition and the actual funding.\u003c/p>\n\u003cp>They passed it with a mostly white council. From there was the tough job of how to implement it, and to whom, and she hadn’t really thought of those things. But I think because she didn’t know much about it, and she just knew she had the energy and they had these new funds, they got it done. She’s pretty phenomenal. She was just determined.\u003c/p>\n\u003cfigure id=\"attachment_13921541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg\" alt=\"a scene from a film shows a Black man and a Black woman discussing legislation at a table\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former Evanston, Ill. Alderwoman Robin Rue Simmons in ‘The Big Payback.’ \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The vice chair of California’s Task Force, longtime civil rights leader Amos Brown, has spoken about three “A’s” — \u003ci>admitting\u003c/i> the problems of the past; \u003ci>atoning\u003c/i> for them with reparations; and then \u003ci>acting\u003c/i> in a unified way that ensures the plans get carried out. Especially at the federal level, it seems like we’re still working on the first step.\u003c/strong>\u003c/p>\n\u003cp>When I started this journey, I mistook the reparations movement for a personal admission and an apology, or payment toward the moral debt, toward me as an African American and my fellow African Americans. But now I’m convinced because of the work, and I’ve been educated by experts on the issue, that that’s a very limited point of view. This debt resides within the fabric of America. So racism, all the residual evils that reside within the DNA — redlining, terrorism, all sorts of horrible, ugly things — are not an individual obligation to pay. It is for the government to admit, apologize and then make reparations.\u003c/p>\n\u003cp>So however we’re talking about this, we all need to educate ourselves, because it’s going to be a lengthy process if we don’t come to the point where this is not about charity — as a woman so wonderfully puts it in the movie — it’s about justice. We are owed. We are more than past due.\u003c/p>\n\u003cp>\u003cstrong>What roadblocks did Rue Simmons and her allies have to navigate?\u003c/strong>\u003c/p>\n\u003cp>The biggest roadblock is money. Funding. The other big roadblock is the natural pushback that people feel — that “this is in the past and we shouldn’t have to address it,” or “they should have addressed it back then.” And they tried with the First Reconstruction. But we know that after Abraham Lincoln died, and \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15/\">Sherman’s Special Field Order 15\u003c/a> was rescinded and we got Andrew Johnson, that Black people had no more power and they were pushed out of the power they had. And then it was just decades of them really suffering a different type of slavery and being unyolked from the system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘I believe that unless we [make reparations], America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.’",
"name": "pullquote",
"attributes": {
"named": {
"align": "right",
"size": "medium",
"citation": "Erika Alexander",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>To ask people who had no power “Why didn’t they get [reparations] then?” is absurd. But there were people who did [fight for reparations]. \u003ca href=\"https://www.usf.edu/cbcs/documents/marketing/communique/callie-house.pdf\">Callie House\u003c/a> and \u003ca href=\"https://www.aaihs.org/audley-moore-black-womens-activism-and-nationalist-politics/\">Queen Mother Moore\u003c/a> and all sorts of figures came in. \u003ca href=\"https://www.history.com/topics/black-history/marcus-garvey\">Marcus Garvey\u003c/a> trying to get reparations and restitutions and repairs. It’s a long history.\u003c/p>\n\u003cp>\u003cstrong>Rep. Sheila Jackson Lee of Texas is also a key figure in the documentary. Can you talk about her work on a federal level?\u003c/strong>\u003c/p>\n\u003cp>She took up a bill, \u003ca href=\"https://www.congress.gov/bill/117th-congress/house-bill/40\">HR 40\u003c/a>, that was introduced into Congress by John Conyers from Detroit, simply trying to study reparations. [If the resolution had passed] they would have had the power to go into all sorts of institutions, backlogs and libraries and see the case for reparations. And they did not get that through at all.\u003c/p>\n\u003cp>In 2020, she made progress, but then \u003ca href=\"https://andscape.com/features/h-r-40-the-federal-bill-to-study-reparations-appears-stalled-once-again/\">it stalled again\u003c/a>, because she didn’t have the votes to move it forward. Now, an executive decision from Biden could bypass all of that. And we were all hoping that would happen. But because reparations is such a controversial subject … there’s a lot of people who would have to own up to [the history]. There’s been a lot of pushback.\u003c/p>\n\u003cp>So that’s what she’s been doing, and that’s what she’ll continue to do, and hopefully get the political will. Mostly, this president should sign an executive decision to get on to what’s right. Because I really believe that unless we do that, America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.\u003c/p>\n\u003cfigure id=\"attachment_13921550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg\" alt=\"a press conference on Capitol Hill; a Black man stands next to a Black woman speaking at a podium\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rep. Danny K. Davis listens as Rep. Sheila Jackson Lee speaks at a press conference on HR 40, which would create a commission to study and develop reparation proposals for African Americans, on Nov. 16, 2021. \u003ccite>(Anna Moneymaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rue Simmons was an alderwoman, a local government official, at the time you filmed her. Can you talk about the significance of her holding local office during that fight?\u003c/strong>\u003c/p>\n\u003cp>They say everything is about “the local weather.” And it’s true. You’re always looking at the national political willpower or what’s on the [national] ballot because it’s sexy. But everything happens at a local level first. And we’re starting to understand that, if you look at the race in Georgia with Stacey Abrams and [Brian] Kemp, and with [Raphael] Warnock and Herschel Walker, they’re seeing how very directly they’ll either progress or regress, depending on what they choose.\u003c/p>\n\u003cp>One of the things I’ll never forget [is] Hillary Clinton warning that they would turn back Roe v. Wade. And at the time, I thought ‘That’s a little bit too much, don’t you think?’ But everything she said was right. They did turn back Roe v. Wade. So here we are locally trying to, state by state, protect women’s right to choose. And people can now see that nothing is sacrosanct. I think that we’re all getting a really good lesson about participating in local elections.\u003c/p>\n\u003cp>\u003cstrong>You played a fictional alderwoman and attorney as Maxine Shaw in the ’90s hit \u003ci>Living Single\u003c/i> — my favorite show of all time. And that character has been influential to real-life political figures: Stacey Abrams, Rep. Ayanna Pressley and the state attorney in Baltimore, Marilyn Mosby, have all said they were inspired by that character. Were you also inspired by getting to play a local official?\u003c/strong>\u003c/p>\n\u003cp>You know what’s funny? There are no alderwomen in Brooklyn [where \u003ci>Living Single\u003c/i> took place]! Only Chicago and other places. I didn’t know that then. And I don’t think Yvette Lee Bowser, who created the show, did either. I did like doing that. And [that character] was definitely somebody who was bold.\u003c/p>\n\u003cp>But I’m more inspired by people like you, and Ayanna Pressley, Stacey Abrams, and some of the really fantastic young Black women I meet that are so sure of their mission and their commitment to life. I got a chance to campaign with [activist and media strategist] Jehmu Greene, who taught me all that I know about local politics and how to speak to people. I got a chance to campaign with Sheila Jackson Lee and with Ayanna and Stacey and John Lewis. And each time I do, I learn something. I’m like a sponge. I’m meant to be a mimic and then go and put it somewhere else.\u003c/p>\n\u003cp>I was just watching a movie I did when I was 19, called \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0_DZnX22XjM\">Common Ground\u003c/a>,\u003c/i> about the Boston bussing. It was as horrible and stressful to look at as anything you might see down South — I think they wanted to make the point that the South wasn’t the only place that pushed back [on integration]. I remember getting so sick and stressed on set and breaking out, not being able to stand for long periods. And I didn’t think then that it was the role or the subject. But now I’ve been realizing that I’ve been doing my work inside of racial and social justice issues for my entire career.\u003c/p>\n\u003cp>I look at \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0FJSosGKclM\">The Long Walk Home\u003c/a>.\u003c/i> There I was, Selma, getting on the bus. I learned from each one of these people. But it’s also because of the people I worked with previously, [like] Phylicia Rashad. I worked with the great Cicely Tyson, Lorraine Toussaint, Gloria Foster. They were killers, and they taught me how to be — not only to be a woman, but to be a strong person. That’s what you see in these roles.\u003c/p>\n\u003cfigure id=\"attachment_13921542\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\" alt=\"a white man and a Black woman smile in a portrait on a staircase\" width=\"750\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen-160x101.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Color Farm Media co-founders Ben Arnon and Erika Alexander. \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now you’ve added director to your roles. Can you share more about your goals with Color Farm Media?\u003c/strong>\u003c/p>\n\u003cp>We call ourselves “the Motown of film, television and tech.” We want to create collaborative projects with talented people. And it’s been a tough road. No one wants to fund a media company, let alone one that’s focused on so-called “marginalized groups.” But we believe that we are in the avant-garde. So I’m going to do more of that.\u003c/p>\n\u003cp>I want to do not only shows that look like \u003ci>The Woman King\u003c/i> and \u003ci>Black Panther\u003c/i>, but also more documentaries and tech-forward platforms, anything that can mix it up and create a global conversation about what it is to be human. I am fueled by storytelling. I can’t stop thinking about stories. And everywhere I go, I see and hear and talk about stories.\u003c/p>\n\u003cp>I think about how I was discovered when I was 14, in a Merchant Ivory film, to play a foster child in a group home. I think about the story of my life, where I was raised by two orphans and got a chance to go from the mountains of Arizona to Philadelphia, to get a chance to audition and get my Screen Actors Guild card and become part of the union, and go around the world with Royal Shakespeare Theater. All these things I got to do because somebody thought that this face and this person would be good at storytelling. So I still do those things. And I guess that’s my ticket to ride nowadays.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>Erika Alexander, Whitney Dow and Robin Rue Simmons appear in a live public panel discussion at KQED hosted by Ariana Proehl on Thursday, Jan. 12, 2023. ‘The Big Payback’ airs Thursday, Jan. 19, 2023, on KQED Channel 9 at 10 p.m. \u003c/i>\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": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921493/erika-alexander-reparations-the-big-payback",
"authors": [
"11296"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_13672",
"arts_10278",
"arts_977",
"arts_7627",
"arts_7723"
],
"featImg": "arts_13921605",
"label": "arts"
},
"arts_13921321": {
"type": "posts",
"id": "arts_13921321",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921321",
"score": null,
"sort": [
1667584490000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1667584490,
"format": "standard",
"title": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’",
"headTitle": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’ | KQED",
"content": "\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>[aside postid='arts_13920799']In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W4t58Yruhds\u003c/p>\n\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>[aside postid='arts_13921052']A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 703,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006183,
"excerpt": "Mars Rover Opportunity was expected to work for 90 days — 15 years later, Oppy was still roving, as a new documentary captures.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Mars Rover Opportunity was expected to work for 90 days — 15 years later, Oppy was still roving, as a new documentary captures.",
"title": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’",
"datePublished": "2022-11-04T10:54:50-07:00",
"dateModified": "2024-01-11T12:49:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-loving-salute-to-nasas-mars-rover-program-in-good-night-oppy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1134095343&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 03 Nov 2022 16:24:03 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 04 Nov 2022 12:43:55 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/03/1134095343/movie-review-good-night-oppy?ft=nprml&f=1134095343",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/11/20221103_atc_review_-_good_night_oppy.mp3?orgId=1&topicId=4467349&d=212&p=2&story=1134095343&ft=nprml&f=1134095343",
"nprImageAgency": "Courtesy of Prime Video",
"nprAudioM3u": "http://api.npr.org/m3u/11134095344-811790.m3u?orgId=1&topicId=4467349&d=212&p=2&story=1134095343&ft=nprml&f=1134095343",
"nprStoryId": "1134095343",
"nprByline": "Bob Mondello",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 04 Nov 2022 12:43:00 -0400",
"path": "/arts/13921321/a-loving-salute-to-nasas-mars-rover-program-in-good-night-oppy",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/11/20221103_atc_review_-_good_night_oppy.mp3?orgId=1&topicId=4467349&d=212&p=2&story=1134095343&ft=nprml&f=1134095343",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920799",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W4t58Yruhds'\n title='//www.youtube.com/embed/W4t58Yruhds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921052",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921321/a-loving-salute-to-nasas-mars-rover-program-in-good-night-oppy",
"authors": [
"byline_arts_13921321"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_13672",
"arts_10521",
"arts_973"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921322",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 300,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1036,
"relation": "eq"
},
"items": [
"arts_13923590",
"arts_13923511",
"arts_13923085",
"arts_13922842",
"arts_13922580",
"arts_13922327",
"arts_13922234",
"arts_13922004",
"arts_13921929",
"arts_13921866",
"arts_13921493",
"arts_13921321"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_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_6174": {
"type": "terms",
"id": "arts_6174",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6174",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden globes",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden globes Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6186,
"slug": "golden-globes",
"isLoading": false,
"link": "/arts/tag/golden-globes"
},
"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_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_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_10778": {
"type": "terms",
"id": "arts_10778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10778",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10790,
"slug": "his-is-a-good-time-to-start-a-garden-heres-how",
"isLoading": false,
"link": "/arts/affiliate/his-is-a-good-time-to-start-a-garden-heres-how"
},
"arts_8302": {
"type": "terms",
"id": "arts_8302",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8302",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Great Britain",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Great Britain Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8314,
"slug": "great-britain",
"isLoading": false,
"link": "/arts/tag/great-britain"
},
"arts_3423": {
"type": "terms",
"id": "arts_3423",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3423",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Meghan Markle",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Meghan Markle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3435,
"slug": "meghan-markle",
"isLoading": false,
"link": "/arts/tag/meghan-markle"
},
"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_8580": {
"type": "terms",
"id": "arts_8580",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8580",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prince Harry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Harry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8592,
"slug": "prince-harry",
"isLoading": false,
"link": "/arts/tag/prince-harry"
},
"arts_8126": {
"type": "terms",
"id": "arts_8126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "royal family",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "royal family Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8138,
"slug": "royal-family",
"isLoading": false,
"link": "/arts/tag/royal-family"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_16917": {
"type": "terms",
"id": "arts_16917",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16917",
"found": true
},
"relationships": {},
"featImg": null,
"name": "children's television workshop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "children's television workshop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16929,
"slug": "childrens-television-workshop",
"isLoading": false,
"link": "/arts/tag/childrens-television-workshop"
},
"arts_930": {
"type": "terms",
"id": "arts_930",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "930",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kids",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kids Archives | KQED Arts",
"ogDescription": null
},
"ttid": 948,
"slug": "kids",
"isLoading": false,
"link": "/arts/tag/kids"
},
"arts_1191": {
"type": "terms",
"id": "arts_1191",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1191",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sesame Street",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Sesame Street in the Bay: Fun & Learning for the Bay's Little Ones",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Learn with Elmo, Grover & friends in sunny San Francisco! KQED shares Sesame Street's Bay Area adventures, songs, and educational resources.",
"metaRobotsNoIndex": "index",
"title": "Sesame Street in the Bay: Fun & Learning for the Bay's Little Ones",
"ogDescription": null
},
"ttid": 1203,
"slug": "sesame-street",
"isLoading": false,
"link": "/arts/tag/sesame-street"
},
"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_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_18773": {
"type": "terms",
"id": "arts_18773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "nashville",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "nashville Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18785,
"slug": "nashville",
"isLoading": false,
"link": "/arts/tag/nashville"
},
"arts_8404": {
"type": "terms",
"id": "arts_8404",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8404",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Showtime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Showtime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8416,
"slug": "showtime",
"isLoading": false,
"link": "/arts/tag/showtime"
},
"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_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_3388": {
"type": "terms",
"id": "arts_3388",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3388",
"found": true
},
"relationships": {},
"featImg": null,
"name": "christmas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "christmas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3400,
"slug": "christmas",
"isLoading": false,
"link": "/arts/tag/christmas"
},
"arts_4088": {
"type": "terms",
"id": "arts_4088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4088",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dolly parton",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dolly parton Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4100,
"slug": "dolly-parton",
"isLoading": false,
"link": "/arts/tag/dolly-parton"
},
"arts_3247": {
"type": "terms",
"id": "arts_3247",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3247",
"found": true
},
"relationships": {},
"featImg": null,
"name": "holidays",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "holidays Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3259,
"slug": "holidays",
"isLoading": false,
"link": "/arts/tag/holidays"
},
"arts_8480": {
"type": "terms",
"id": "arts_8480",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8480",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8492,
"slug": "nbc",
"isLoading": false,
"link": "/arts/tag/nbc"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"arts_8482": {
"type": "terms",
"id": "arts_8482",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8482",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ABC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ABC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8494,
"slug": "abc",
"isLoading": false,
"link": "/arts/tag/abc"
},
"arts_16405": {
"type": "terms",
"id": "arts_16405",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16405",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gameshow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gameshow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16417,
"slug": "gameshow",
"isLoading": false,
"link": "/arts/tag/gameshow"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_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_7627": {
"type": "terms",
"id": "arts_7627",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7627",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reparations",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reparations Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7639,
"slug": "reparations",
"isLoading": false,
"link": "/arts/tag/reparations"
},
"arts_7723": {
"type": "terms",
"id": "arts_7723",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7723",
"found": true
},
"relationships": {},
"featImg": null,
"name": "slavery",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "slavery Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7735,
"slug": "slavery",
"isLoading": false,
"link": "/arts/tag/slavery"
},
"arts_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"arts_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
