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_13897864": {
"type": "attachments",
"id": "arts_13897864",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897864",
"found": true
},
"parent": 13897829,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-160x84.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 84
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925.jpg",
"width": 2000,
"height": 1050
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-1020x536.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 536
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-1536x806.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 806
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-1920x1008.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1008
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-800x420.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 420
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/10460925-768x403.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 403
}
},
"publishDate": 1621986928,
"modified": 1621986966,
"caption": "Aidy Bryant starring as Annie Easton in the third, and final, season of 'Shrill.'",
"description": "Aidy Bryant starring as Annie Easton in the third, and final, season of 'Shrill.'",
"title": "Aidy Bryant starring as Annie Easton in the third, and final, season of 'Shrill.'",
"credit": "Hulu",
"status": "inherit",
"altTag": "Aidy Bryant starring as Annie Easton in the third, and final, season of 'Shrill.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13898329": {
"type": "attachments",
"id": "arts_13898329",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13898329",
"found": true
},
"parent": 13898323,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham.png",
"width": 2650,
"height": 1650
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-2048x1275.png",
"width": 2048,
"mimeType": "image/png",
"height": 1275
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-1020x635.png",
"width": 1020,
"mimeType": "image/png",
"height": 635
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-1536x956.png",
"width": 1536,
"mimeType": "image/png",
"height": 956
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-1920x1195.png",
"width": 1920,
"mimeType": "image/png",
"height": 1195
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-800x498.png",
"width": 800,
"mimeType": "image/png",
"height": 498
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/bo-burnham-768x478.png",
"width": 768,
"mimeType": "image/png",
"height": 478
}
},
"publishDate": 1622831310,
"modified": 1622831446,
"caption": "Bo Burnham in a moment from \"Facetiming With My Mom\"—part of his 'Inside' Netflix special.",
"description": "Bo Burnham in a moment from \"Facetiming With My Mom\"—part of his 'Inside' Netflix special.",
"title": "Bo Burnham in a moment from \"Facetiming With My Mom\"—part of his 'Inside' Netflix special.",
"credit": "Netflix",
"status": "inherit",
"altTag": "Bo Burnham stands alone, pensively leaning on a kitchen sink. It's a moment from \"Facetiming With My Mom\"—part of his 'Inside' Netflix special.",
"isLoading": false,
"fetchFailed": false
},
"arts_13898109": {
"type": "attachments",
"id": "arts_13898109",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13898109",
"found": true
},
"parent": 13898108,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-e1622570596888.jpe",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-2048x1152.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/1989-004-5-02-scaled-1_wide-d9b6e96ff6380a4d38187cce7cb0c6cf70959ebe-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1622569288,
"modified": 1622570724,
"caption": "Graphic photos of the Tulsa Race Massacre were turned into postcards and distributed by some white people. This one is labeled: \"Little Africa on Fire, Tulsa Race Riot, June 1, 1921.\"",
"description": "Graphic photos of the Tulsa Race Massacre were turned into postcards and distributed by some white people. This one is labeled: \"Little Africa on Fire, Tulsa Race Riot, June 1, 1921.\"",
"title": "Graphic photos of the Tulsa Race Massacre were turned into postcards and distributed by some white people. This one is labeled: \"Little Africa on Fire, Tulsa Race Riot, June 1, 1921.\"",
"credit": "University of Tulsa/McFarlin Library Special Collections",
"status": "inherit",
"altTag": "Graphic photos of the Tulsa Race Massacre were turned into postcards and distributed by some white people. This one is labeled: \"Little Africa on Fire, Tulsa Race Riot, June 1, 1921.\"",
"isLoading": false,
"fetchFailed": false
},
"arts_13897934": {
"type": "attachments",
"id": "arts_13897934",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897934",
"found": true
},
"parent": 13897888,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-160x83.png",
"width": 160,
"mimeType": "image/png",
"height": 83
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-e1622077675332.png",
"width": 1920,
"height": 992
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-2048x1058.png",
"width": 2048,
"mimeType": "image/png",
"height": 1058
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-1020x527.png",
"width": 1020,
"mimeType": "image/png",
"height": 527
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-1536x794.png",
"width": 1536,
"mimeType": "image/png",
"height": 794
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-1920x992.png",
"width": 1920,
"mimeType": "image/png",
"height": 992
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-800x413.png",
"width": 800,
"mimeType": "image/png",
"height": 413
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/couch-768x397.png",
"width": 768,
"mimeType": "image/png",
"height": 397
}
},
"publishDate": 1622077500,
"modified": 1622107753,
"caption": "The cast of 'Friends' look at an off-screen David Schwimmer during HBO's reunion special. (L-R) Matt LeBlanc, Matthew Perry, Jennifer Aniston, Courteney Cox and Lisa Kudrow.",
"description": "The cast of 'Friends' look at an off-screen David Schwimmer during HBO's reunion special. (L-R) Matt LeBlanc, Matthew Perry, Jennifer Aniston, Courteney Cox and Lisa Kudrow.",
"title": "The cast of 'Friends' look at an off-screen David Schwimmer during HBO's reunion special. (L-R) Matt LeBlanc, Matthew Perry, Jennifer Aniston, Courteney Cox and Lisa Kudrow.",
"credit": "HBO/ WarnerMedia",
"status": "inherit",
"altTag": "The cast of 'Friends' look at an off-screen David Schwimmer during HBO's reunion special. (L-R) Matt LeBlanc, Matthew Perry, Jennifer Aniston, Courteney Cox and Lisa Kudrow.",
"isLoading": false,
"fetchFailed": false
},
"arts_13897710": {
"type": "attachments",
"id": "arts_13897710",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897710",
"found": true
},
"parent": 13897709,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-scaled-e1621876478862.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/mon_sg_305_00026c_wide-74805b6b0fc432a4fafcf9931774ce59e28585d7-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1621875909,
"modified": 1621876527,
"caption": "Naomi Ackie as Alicia and Lena Waithe as Denise in season 3 of 'Master of None.'",
"description": "Naomi Ackie as Alicia and Lena Waithe as Denise in season 3 of 'Master of None.'",
"title": "Naomi Ackie as Alicia and Lena Waithe as Denise in season 3 of 'Master of None.'",
"credit": "Netflix",
"status": "inherit",
"altTag": "Naomi Ackie as Alicia and Lena Waithe as Denise in season 3 of 'Master of None.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13897167": {
"type": "attachments",
"id": "arts_13897167",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897167",
"found": true
},
"parent": 13897166,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1.jpg",
"width": 1502,
"height": 845
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/methode_sundaytimes_prod_web_bin_d5559658-acc9-11eb-b6c0-5386bb38660a_wide-72ace49fb366209646a2996f44be29ae128f5514-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1621013568,
"modified": 1621016179,
"caption": "Barry Jenkins served as showrunner, executive producer, writer and director to the 10-part Amazon series, 'The Underground Railroad.'",
"description": "Barry Jenkins served as showrunner, executive producer, writer and director to the 10-part Amazon series, 'The Underground Railroad.'",
"title": "Barry Jenkins served as showrunner, executive producer, writer and director to the 10-part Amazon series, 'The Underground Railroad.'",
"credit": "Atsushi Nishijima/Amazon Studios",
"status": "inherit",
"altTag": "Barry Jenkins served as showrunner, executive producer, writer and director to the 10-part Amazon series, 'The Underground Railroad.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13897120": {
"type": "attachments",
"id": "arts_13897120",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897120",
"found": true
},
"parent": 13897119,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958.jpg",
"width": 1733,
"height": 975
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/102-hacks_jean_smart-and-hannah_einbinderep102_crbomax_f_wide-ac181f1630a3d0ee97ec18c13ac041a077f93958-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1620929373,
"modified": 1620930337,
"caption": "L to R: Legendary comic Deborah Vance (Jean Smart) performs while her reluctant assistant Ava (Hannah Einbinder) literally waits in the wings on 'Hacks.'",
"description": "L to R: Legendary comic Deborah Vance (Jean Smart) performs while her reluctant assistant Ava (Hannah Einbinder) literally waits in the wings on 'Hacks.'",
"title": "L to R: Legendary comic Deborah Vance (Jean Smart) performs while her reluctant assistant Ava (Hannah Einbinder) literally waits in the wings on 'Hacks.'",
"credit": "Jake Niles Getter/HBO Max",
"status": "inherit",
"altTag": "L to R: Legendary comic Deborah Vance (Jean Smart) performs while her reluctant assistant Ava (Hannah Einbinder) literally waits in the wings on 'Hacks.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13897066": {
"type": "attachments",
"id": "arts_13897066",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897066",
"found": true
},
"parent": 13897056,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-160x93.png",
"width": 160,
"mimeType": "image/png",
"height": 93
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-e1620845965188.png",
"width": 1920,
"height": 1120
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-2048x1195.png",
"width": 2048,
"mimeType": "image/png",
"height": 1195
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-1020x595.png",
"width": 1020,
"mimeType": "image/png",
"height": 595
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-1536x896.png",
"width": 1536,
"mimeType": "image/png",
"height": 896
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-1920x1120.png",
"width": 1920,
"mimeType": "image/png",
"height": 1120
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-800x467.png",
"width": 800,
"mimeType": "image/png",
"height": 467
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-12-at-11.58.23-AM-768x448.png",
"width": 768,
"mimeType": "image/png",
"height": 448
}
},
"publishDate": 1620845938,
"modified": 1620846041,
"caption": "Jasmine Cephas Jones returns to her role as Ashley in the 'Blindspotting' TV series.",
"description": "Jasmine Cephas Jones returns to her role as Ashley in the 'Blindspotting' TV series.",
"title": "Jasmine Cephas Jones returns to her role as Ashley in the 'Blindspotting' TV series.",
"credit": "Twitter/ @blindspottingtv",
"status": "inherit",
"altTag": "Jasmine Cephas Jones returns to her role as Ashley in the 'Blindspotting' TV series.",
"isLoading": false,
"fetchFailed": false
},
"arts_13897085": {
"type": "attachments",
"id": "arts_13897085",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897085",
"found": true
},
"parent": 13897078,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-scaled-e1620848397102.jpg",
"width": 1920,
"height": 1280
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/GettyImages-632027996-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1620848369,
"modified": 1620848478,
"caption": "Ellen Degeneres at the People's Choice Awards in 2017. ",
"description": "Ellen Degeneres at the People's Choice Awards in 2017. ",
"title": "Ellen Degeneres at the People's Choice Awards in 2017.",
"credit": "Kevork Djansezian/Getty Images",
"status": "inherit",
"altTag": "Ellen Degeneres at the People's Choice Awards in 2017.",
"isLoading": false,
"fetchFailed": false
},
"arts_13897004": {
"type": "attachments",
"id": "arts_13897004",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897004",
"found": true
},
"parent": 13897003,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-scaled-e1620692306651.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-1304641400-83af9164959ae79fe206b0af86b7646259533fe4-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1620691915,
"modified": 1620692366,
"caption": "The Hollywood Foreign Press Association voted last week to approve an overhaul proposal. But the group's pledges of transformation have done little to reassure entertainment companies.",
"description": "The Hollywood Foreign Press Association voted last week to approve an overhaul proposal. But the group's pledges of transformation have done little to reassure entertainment companies.",
"title": "The Hollywood Foreign Press Association voted last week to approve an overhaul proposal. But the group's pledges of transformation have done little to reassure entertainment companies.",
"credit": "Kevin Mazur/Getty Images for Hollywood Forei",
"status": "inherit",
"altTag": "The Hollywood Foreign Press Association voted last week to approve an overhaul proposal. But the group's pledges of transformation have done little to reassure entertainment companies.",
"isLoading": false,
"fetchFailed": false
},
"arts_13896993": {
"type": "attachments",
"id": "arts_13896993",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896993",
"found": true
},
"parent": 13896989,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-scaled-e1620679086475.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-469470395-708604a3afbf351303e370bdfcbc69abc611128d-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1620677976,
"modified": 1620679286,
"caption": "James Earl Jones guest stars on 'Sesame Street' with regular cast members Big Bird, Mr. Hooper (played by actor Will Lee) and Maria (actor Sonia Manzano).",
"description": "James Earl Jones guest stars on 'Sesame Street' with regular cast members Big Bird, Mr. Hooper (played by actor Will Lee) and Maria (actor Sonia Manzano).",
"title": "James Earl Jones guest stars on 'Sesame Street' with regular cast members Big Bird, Mr. Hooper (played by actor Will Lee) and Maria (actor Sonia Manzano).",
"credit": "Afro Newspaper/Gado/Getty Images",
"status": "inherit",
"altTag": "James Earl Jones guest stars on 'Sesame Street' with regular cast members Big Bird, Mr. Hooper (played by actor Will Lee) and Maria (actor Sonia Manzano).",
"isLoading": false,
"fetchFailed": false
},
"arts_13896822": {
"type": "attachments",
"id": "arts_13896822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896822",
"found": true
},
"parent": 13896815,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed.jpg",
"width": 1548,
"height": 1024
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-1020x675.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 675
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-1536x1016.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1016
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-800x529.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 529
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/Girls5eva-Season-1-billboard-1548-1620319377-compressed-768x508.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 508
}
},
"publishDate": 1620329741,
"modified": 1620329783,
"caption": "The ladies of Girls5eva: Gloria (Paula Pell), Dawn (Sara Bareilles), Wickie (Renée Elise Goldsberry), and Summer (Busy Philipps).",
"description": "The ladies of Girls5eva: Gloria (Paula Pell), Dawn (Sara Bareilles), Wickie (Renée Elise Goldsberry), and Summer (Busy Philipps).",
"title": "The ladies of Girls5eva: Gloria (Paula Pell), Dawn (Sara Bareilles), Wickie (Renée Elise Goldsberry), and Summer (Busy Philipps).",
"credit": "Heidi Gutman/Peacock",
"status": "inherit",
"altTag": "The ladies of Girls5eva: Gloria (Paula Pell), Dawn (Sara Bareilles), Wickie (Renée Elise Goldsberry), and Summer (Busy Philipps).",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13898323": {
"type": "authors",
"id": "byline_arts_13898323",
"meta": {
"override": true
},
"slug": "byline_arts_13898323",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13898108": {
"type": "authors",
"id": "byline_arts_13898108",
"meta": {
"override": true
},
"slug": "byline_arts_13898108",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13897709": {
"type": "authors",
"id": "byline_arts_13897709",
"meta": {
"override": true
},
"slug": "byline_arts_13897709",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13897166": {
"type": "authors",
"id": "byline_arts_13897166",
"meta": {
"override": true
},
"slug": "byline_arts_13897166",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13897119": {
"type": "authors",
"id": "byline_arts_13897119",
"meta": {
"override": true
},
"slug": "byline_arts_13897119",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13897078": {
"type": "authors",
"id": "byline_arts_13897078",
"meta": {
"override": true
},
"slug": "byline_arts_13897078",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13897003": {
"type": "authors",
"id": "byline_arts_13897003",
"meta": {
"override": true
},
"slug": "byline_arts_13897003",
"name": "Vanessa Romo",
"isLoading": false
},
"byline_arts_13896989": {
"type": "authors",
"id": "byline_arts_13896989",
"meta": {
"override": true
},
"slug": "byline_arts_13896989",
"name": "Sam Gringlas",
"isLoading": false
},
"byline_arts_13896815": {
"type": "authors",
"id": "byline_arts_13896815",
"meta": {
"override": true
},
"slug": "byline_arts_13896815",
"name": "Aisha Harris",
"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"
}
},
"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": 38
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 38
}
},
{
"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_13897829": {
"type": "posts",
"id": "arts_13897829",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897829",
"score": null,
"sort": [
1623175239000
]
},
"guestAuthors": [],
"slug": "the-abrupt-ending-of-shrill-shows-the-need-for-fat-representation-on-tv",
"title": "The Abrupt Ending of ‘Shrill’ Shows the Need for Fat Representation on TV",
"publishDate": 1623175239,
"format": "standard",
"headTitle": "The Abrupt Ending of ‘Shrill’ Shows the Need for Fat Representation on TV | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When I was 12, a school friend’s mother introduced our little group of friends to the wrist test. Your wrist circumference, she explained, was the true demonstration of your bone structure, and an indication of the size you actually could be if you watched your weight enough. She went around our circle of tweens and marveled at the daintiness of my friends’ wrists. Then she reached mine, audibly gasped, and uttered the phrase, “Oh, so you really \u003cem>are\u003c/em> big-boned.” I couldn’t tell if I was being let off the hook or thrown on the trash pile. Maybe a little of both.\u003c/p>\n\u003cp>I never forgot about the wrist test. (In part, because every time I attempt to buy a bracelet, I’m reminded that my bones are so gasp-worthy, no one’s willing to make accessories large enough to fit them.) But I’d also never really heard anyone else talk about it. That was until March 2019, when the very first episode of \u003cem>Shrill\u003c/em> came out on Hulu. I couldn’t quite believe it when I saw it, but within two minutes of the show starting, Aidy Bryant’s character, Annie Easton, was being subjected to a wrist test. (Something, she later \u003ca href=\"https://www.youtube.com/watch?v=fn1kab6Jy2U\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>Today\u003c/em> \u003cem>Show\u003c/em>\u003c/a>, had happened to her in real life.)\u003c/p>\n\u003cp>“You actually have a really small frame,” a complete stranger told Annie in a coffee shop. “There is a small person inside of you, dying to get out.”\u003c/p>\n\u003cp>“Oh,” Annie quipped back. “Well I hope that small person’s OK in there…” Later in the episode she gets more succinct, offering a simple “fuck you” to the woman.\u003c/p>\n\u003cp>This was the exact moment that I fell in love with Annie Easton. I fell in love with her because I’d never seen anyone quite like her on TV before. (The fat girl as the central character, not the comic relief, shouldn’t be a revolutionary concept, but here we are.) I fell in love with her because she was doing her damn best while batting away near-constant fatphobic aggressions, both micro and major. And I fell in love with her because at the end of that very first episode of \u003cem>Shrill\u003c/em>, she declared: “I’ve been letting people dismiss me, or say shit to me about my body my entire life. And at this point, I just feel like, fuck them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SB2i0fuSMRI\u003c/p>\n\u003cp>\u003cem>Shrill\u003c/em>’s first season was extremely adept at throwing a middle finger up at fat-shaming in all its forms. Fat-shaming by family members, back-handed friends, bosses, medical professionals and well-meaning strangers. It very shrewdly identified all forms of fat hostility, then very gently asked the audience to both recognize it, and stop participating in it. And watching Annie Easton refusing to participate in her own subjugation anymore was an absolute thrill to watch. Plus, \u003cem>Shrill\u003c/em> was funny. Really, really funny.\u003c/p>\n\u003cp>[aside postid='arts_13874075']The reason \u003cem>Shrill\u003c/em> was so good at being honest, empowering and, yes, hilarious was because it was created, developed and written by women who didn’t just know the Annie Eastons of the world, they \u003cem>were\u003c/em> them. Bryant (memorably hailed as \u003cem>Saturday Night Live’\u003c/em>s “\u003ca href=\"https://www.bitchmedia.org/post/snl-adds-first-ever-fat-woman-to-new-cast-aidy-bryant-feminist-magazine-television\" target=\"_blank\" rel=\"noopener noreferrer\">first ever fat woman\u003c/a>” by Bitch Media) developed and co-wrote the first season with \u003ca href=\"https://www.lindywest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lindy West\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1494121/?ref_=nmbio_bio_nm\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Rushfield\u003c/a>. \u003cem>Shrill\u003c/em> took its name from West’s 2017 \u003ca href=\"https://www.lindywest.net/shrill\" target=\"_blank\" rel=\"noopener noreferrer\">book of essays\u003c/a>. (Almost all of the components for the first season are visible in a single essay from the collection titled, “You’re So Brave for Wearing Clothes and Not Hating Yourself!”) Rushfield had previously written for—and executive produced—other funny, brilliant series like \u003cem>Parks and Recreation\u003c/em> and \u003cem>Love\u003c/em>. The Bryant/West/Rushfield core trio went on to bring in an incredibly diverse team of writers to pen the episodes that they didn’t. And the show was better for it.\u003c/p>\n\u003cp>Themes around fat-shaming were also present in seasons two and three—they had to be for the sake of realism—but the show became less concerned about Annie’s size, and more concerned about her development as an empowered, freshly assertive person. Season three, which came out May 7, was particularly adept at exploring the pitfalls of this kind of newly acquired self-confidence, as Annie made cringeworthy mistakes in both her career and her love life. Along the way, we also got very invested in the life of her queer, more gregarious best friend, Fran (played warmly and hilariously by Lolly Adefope).\u003c/p>\n\u003cp>And then, right in the middle of Annie and Fran’s still blossoming, still messy journeys, it all came to a screeching halt. \u003cem>Shrill\u003c/em> ended for good last month, after 22 too-short episodes. I’ve been trying to make peace with that since I binged the new season the day it came out. The knowledge that there will never be another episode has been actively bothering me ever since. And the fact that the cast and writers didn’t find out it would be the last season until they were already halfway through making it has been nagging at me even more. Perhaps if they’d had a little more notice, \u003cem>Shrill\u003c/em> wouldn’t feel quite so unfinished right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PyDjQf8KJyc\u003c/p>\n\u003cp>On the promo jaunt for \u003cem>Shrill\u003c/em>‘s third and final season, Bryant and West did their level best to put a positive spin on the end of the show. \u003ca href=\"https://www.refinery29.com/en-us/2021/05/10460703/shrill-final-season-ending-explained-aidy-bryant-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Bryant told \u003cem>Refinery 29\u003c/em>\u003c/a>: “Something I really like about the end for both Fran and Annie is that they don’t end with these perfect scenarios. They end with scenarios that they’re going to have to work through and grow in order to get through … I think it’s a nice way to show that she’s got more work to do forever.”\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.esquire.com/entertainment/tv/a36339150/aidy-bryant-lindy-west-shrill-season-3-series-finale-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Esquire\u003c/em>\u003c/a>, Lindy West said, “I also think that not tying everything up with a big bow lets characters keep living in a way that a more formal finale doesn’t. You’re just stepping back out of their lives. In my brain, their lives go on, and all of these characters are still out there.”\u003c/p>\n\u003cp>[aside postid='pop_96893']Maybe Bryant and West are right. Maybe an unfinished story is better than a neat one. Maybe the lack of happy ending is more in keeping with the overall tone of the show. But I can’t stop thinking about something West wrote in the book version of \u003cem>Shrill\u003c/em>. Right after she pointed out that “looking at pictures of fat people makes you like fat people more,” West gave us an “eternal reminder: representation matters.” And what we are still lacking on television in 2021 are shows in which cool fat women just live their lives with grace and self-love and—godammit—\u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That \u003cem>Shrill\u003c/em> was able to give us that for three seasons is something to treasure, alright. But it’s also not enough—especially when Annie Easton taught us so righteously to always, \u003cem>always\u003c/em> ask for more.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Aidy Bryant and Lindy West’s Hulu series showed cool fat women living life with grace and self-love. Its ending is a loss.",
"status": "publish",
"parent": 0,
"modified": 1781744505,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1250
},
"headData": {
"title": "The Abrupt Ending of ‘Shrill’ Shows the Need for Fat Representation on TV | KQED",
"description": "Aidy Bryant and Lindy West’s Hulu series showed cool fat women living life with grace and self-love. Its ending is a loss.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Abrupt Ending of ‘Shrill’ Shows the Need for Fat Representation on TV",
"datePublished": "2021-06-08T11:00:39-07:00",
"dateModified": "2026-06-17T18:01:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 990,
"slug": "tv",
"name": "TV"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13897829/the-abrupt-ending-of-shrill-shows-the-need-for-fat-representation-on-tv",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was 12, a school friend’s mother introduced our little group of friends to the wrist test. Your wrist circumference, she explained, was the true demonstration of your bone structure, and an indication of the size you actually could be if you watched your weight enough. She went around our circle of tweens and marveled at the daintiness of my friends’ wrists. Then she reached mine, audibly gasped, and uttered the phrase, “Oh, so you really \u003cem>are\u003c/em> big-boned.” I couldn’t tell if I was being let off the hook or thrown on the trash pile. Maybe a little of both.\u003c/p>\n\u003cp>I never forgot about the wrist test. (In part, because every time I attempt to buy a bracelet, I’m reminded that my bones are so gasp-worthy, no one’s willing to make accessories large enough to fit them.) But I’d also never really heard anyone else talk about it. That was until March 2019, when the very first episode of \u003cem>Shrill\u003c/em> came out on Hulu. I couldn’t quite believe it when I saw it, but within two minutes of the show starting, Aidy Bryant’s character, Annie Easton, was being subjected to a wrist test. (Something, she later \u003ca href=\"https://www.youtube.com/watch?v=fn1kab6Jy2U\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>Today\u003c/em> \u003cem>Show\u003c/em>\u003c/a>, had happened to her in real life.)\u003c/p>\n\u003cp>“You actually have a really small frame,” a complete stranger told Annie in a coffee shop. “There is a small person inside of you, dying to get out.”\u003c/p>\n\u003cp>“Oh,” Annie quipped back. “Well I hope that small person’s OK in there…” Later in the episode she gets more succinct, offering a simple “fuck you” to the woman.\u003c/p>\n\u003cp>This was the exact moment that I fell in love with Annie Easton. I fell in love with her because I’d never seen anyone quite like her on TV before. (The fat girl as the central character, not the comic relief, shouldn’t be a revolutionary concept, but here we are.) I fell in love with her because she was doing her damn best while batting away near-constant fatphobic aggressions, both micro and major. And I fell in love with her because at the end of that very first episode of \u003cem>Shrill\u003c/em>, she declared: “I’ve been letting people dismiss me, or say shit to me about my body my entire life. And at this point, I just feel like, fuck them.”\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/SB2i0fuSMRI'\n title='//www.youtube.com/embed/SB2i0fuSMRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Shrill\u003c/em>’s first season was extremely adept at throwing a middle finger up at fat-shaming in all its forms. Fat-shaming by family members, back-handed friends, bosses, medical professionals and well-meaning strangers. It very shrewdly identified all forms of fat hostility, then very gently asked the audience to both recognize it, and stop participating in it. And watching Annie Easton refusing to participate in her own subjugation anymore was an absolute thrill to watch. Plus, \u003cem>Shrill\u003c/em> was funny. Really, really funny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13874075",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The reason \u003cem>Shrill\u003c/em> was so good at being honest, empowering and, yes, hilarious was because it was created, developed and written by women who didn’t just know the Annie Eastons of the world, they \u003cem>were\u003c/em> them. Bryant (memorably hailed as \u003cem>Saturday Night Live’\u003c/em>s “\u003ca href=\"https://www.bitchmedia.org/post/snl-adds-first-ever-fat-woman-to-new-cast-aidy-bryant-feminist-magazine-television\" target=\"_blank\" rel=\"noopener noreferrer\">first ever fat woman\u003c/a>” by Bitch Media) developed and co-wrote the first season with \u003ca href=\"https://www.lindywest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lindy West\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1494121/?ref_=nmbio_bio_nm\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Rushfield\u003c/a>. \u003cem>Shrill\u003c/em> took its name from West’s 2017 \u003ca href=\"https://www.lindywest.net/shrill\" target=\"_blank\" rel=\"noopener noreferrer\">book of essays\u003c/a>. (Almost all of the components for the first season are visible in a single essay from the collection titled, “You’re So Brave for Wearing Clothes and Not Hating Yourself!”) Rushfield had previously written for—and executive produced—other funny, brilliant series like \u003cem>Parks and Recreation\u003c/em> and \u003cem>Love\u003c/em>. The Bryant/West/Rushfield core trio went on to bring in an incredibly diverse team of writers to pen the episodes that they didn’t. And the show was better for it.\u003c/p>\n\u003cp>Themes around fat-shaming were also present in seasons two and three—they had to be for the sake of realism—but the show became less concerned about Annie’s size, and more concerned about her development as an empowered, freshly assertive person. Season three, which came out May 7, was particularly adept at exploring the pitfalls of this kind of newly acquired self-confidence, as Annie made cringeworthy mistakes in both her career and her love life. Along the way, we also got very invested in the life of her queer, more gregarious best friend, Fran (played warmly and hilariously by Lolly Adefope).\u003c/p>\n\u003cp>And then, right in the middle of Annie and Fran’s still blossoming, still messy journeys, it all came to a screeching halt. \u003cem>Shrill\u003c/em> ended for good last month, after 22 too-short episodes. I’ve been trying to make peace with that since I binged the new season the day it came out. The knowledge that there will never be another episode has been actively bothering me ever since. And the fact that the cast and writers didn’t find out it would be the last season until they were already halfway through making it has been nagging at me even more. Perhaps if they’d had a little more notice, \u003cem>Shrill\u003c/em> wouldn’t feel quite so unfinished right now.\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/PyDjQf8KJyc'\n title='//www.youtube.com/embed/PyDjQf8KJyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the promo jaunt for \u003cem>Shrill\u003c/em>‘s third and final season, Bryant and West did their level best to put a positive spin on the end of the show. \u003ca href=\"https://www.refinery29.com/en-us/2021/05/10460703/shrill-final-season-ending-explained-aidy-bryant-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Bryant told \u003cem>Refinery 29\u003c/em>\u003c/a>: “Something I really like about the end for both Fran and Annie is that they don’t end with these perfect scenarios. They end with scenarios that they’re going to have to work through and grow in order to get through … I think it’s a nice way to show that she’s got more work to do forever.”\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.esquire.com/entertainment/tv/a36339150/aidy-bryant-lindy-west-shrill-season-3-series-finale-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Esquire\u003c/em>\u003c/a>, Lindy West said, “I also think that not tying everything up with a big bow lets characters keep living in a way that a more formal finale doesn’t. You’re just stepping back out of their lives. In my brain, their lives go on, and all of these characters are still out there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_96893",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe Bryant and West are right. Maybe an unfinished story is better than a neat one. Maybe the lack of happy ending is more in keeping with the overall tone of the show. But I can’t stop thinking about something West wrote in the book version of \u003cem>Shrill\u003c/em>. Right after she pointed out that “looking at pictures of fat people makes you like fat people more,” West gave us an “eternal reminder: representation matters.” And what we are still lacking on television in 2021 are shows in which cool fat women just live their lives with grace and self-love and—godammit—\u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That \u003cem>Shrill\u003c/em> was able to give us that for three seasons is something to treasure, alright. But it’s also not enough—especially when Annie Easton taught us so righteously to always, \u003cem>always\u003c/em> ask for more.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897829/the-abrupt-ending-of-shrill-shows-the-need-for-fat-representation-on-tv",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10278",
"arts_5234"
],
"featImg": "arts_13897864",
"label": "arts"
},
"arts_13898323": {
"type": "posts",
"id": "arts_13898323",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13898323",
"score": null,
"sort": [
1622832010000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1622832010,
"format": "standard",
"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
"headTitle": "Bo Burnham’s ‘Inside’ is a Musical Fantasy About Terrible Realities | KQED",
"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1175,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705008267,
"excerpt": "This isn't Burnham's stand-up, it's his theater—filmed at home, touching on some of the harshest realities of the isolated mind.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This isn't Burnham's stand-up, it's his theater—filmed at home, touching on some of the harshest realities of the isolated mind.",
"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
"datePublished": "2021-06-04T11:40:10-07:00",
"dateModified": "2024-01-11T13:24:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bo-burnhams-inside-is-a-musical-fantasy-about-terrible-realities",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1002491153&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 04 Jun 2021 08:19:59 -0400",
"nprLastModifiedDate": "Fri, 04 Jun 2021 08:19:59 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/06/04/1002491153/bo-burnhams-inside-is-a-musical-fantasy-about-terrible-realities?ft=nprml&f=1002491153",
"nprImageAgency": "Getty Images for DGA",
"nprStoryId": "1002491153",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "Kevork Djansezian",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 04 Jun 2021 08:19:00 -0400",
"path": "/arts/13898323/bo-burnhams-inside-is-a-musical-fantasy-about-terrible-realities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13886679",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\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/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892543",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\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’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13898323/bo-burnhams-inside-is-a-musical-fantasy-about-terrible-realities",
"authors": [
"byline_arts_13898323"
],
"categories": [
"arts_1",
"arts_968",
"arts_990"
],
"tags": [
"arts_10127",
"arts_3324",
"arts_10416"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13898329",
"label": "arts_137"
},
"arts_13898108": {
"type": "posts",
"id": "arts_13898108",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13898108",
"score": null,
"sort": [
1622571046000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1622571046,
"format": "standard",
"title": "3 Documentaries You Should Watch About the Tulsa Race Massacre",
"headTitle": "3 Documentaries You Should Watch About the Tulsa Race Massacre | KQED",
"content": "\u003cp>If all you know about the \u003ca href=\"https://www.tulsahistory.org/exhibit/1921-tulsa-race-massacre/\" target=\"_blank\" rel=\"noopener noreferrer\">Tulsa Race Massacre\u003c/a> is the re-creations of the attack featured in HBO series like \u003ca href=\"https://www.npr.org/2019/10/22/771998690/watchmen-creator-damon-lindelof-not-talking-about-race-felt-irresponsible\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/03/30/982668346/lovecraft-country-creator-aims-to-reclaim-the-horror-genre-for-people-of-color\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, prepare yourself for a serious education over the next few weeks.\u003c/p>\n\u003cp>Monday marked the 100th anniversary for one of the worst acts of racial violence in American history, the Tulsa Race Massacre. Back in 1921, a mob of white people tore down and burned the Greenwood district of Tulsa, Okla.—a segregated part of the city so prosperous and bustling, it was known as Black Wall Street.\u003c/p>\n\u003cp>[aside postid='arts_13881199']According to some historians, over 1,200 homes and buildings were \u003ca href=\"https://www.tulsalibrary.org/tulsa-race-riot-1921\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed by the violence,\u003c/a> killing between 100 and 300 people. But thanks to white-dominated power structures in the city of Tulsa and state of Oklahoma, news about the massacre was wiped from many official sources for decades (several fans of \u003cem>Watchmen\u003c/em> and \u003cem>Lovecraft Country\u003c/em> have told me they had never heard of the massacre before these fictional TV shows dramatized the attack during their episodes last year and in 2019).\u003c/p>\n\u003cp>All that will likely change over the next week and beyond, as a flood of programs centered on the Tulsa Race Massacre come to television. From enterprise reporting efforts at ABC, CBS and NBC to projects on National Geographic, CNN, The History Channel and PBS, there are a wide array of documentary films and TV programs aimed at reminding Americans just how deadly unchecked racism can be.\u003c/p>\n\u003cp>After watching the films offered by \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">The History Channel\u003c/a>, \u003ca href=\"https://www.cnn.com/shows/dreamland-cnn-films\" target=\"_blank\" rel=\"noopener noreferrer\">CNN\u003c/a> and \u003ca href=\"https://www.pbs.org/show/tulsa-fire-and-forgotten/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, I saw common themes emerge. First was the power of white society to control what history is recognized, to erase uncomfortable truths and resist efforts to dig up the truth (sometimes literally, as when officials ended early attempts to find mass graves of massacre victims in 1999). Several films featured comments from longtime white residents of Tulsa, including its current mayor, G.T. Bynum, who said they didn’t even learn the Tulsa Race Massacre had happened until they were adults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such insistence on erasing Black pain from a community’s official history creates, by necessity, a shadow history kept among people of color and passed along, often by word of mouth. White America may have tried to forget Tulsa, but the massacre’s details lived in the stories of Black survivors and their descendants, handed down like bitter family heirlooms.\u003c/p>\n\u003cp>(Even worse, for a journalist like me, was to realize the role the media played back then—both in whipping up white fears about Black people through horrifically racist films and newspaper stories, while disappearing news of attacks and lynchings once white people took action.)\u003c/p>\n\u003cp>The second painful truth was the lasting damage such attacks can have on a people. According to CNN’s film, 191 Black-owned businesses stood in the Greenwood district before the massacre, including one of the finest hotels in the country. These days, there are fewer than a dozen Black-owned businesses in that same area, now reduced to a block-long main drag with modest establishments like a barbershop, health clinic and coffee shop.\u003c/p>\n\u003cp>Generations of Black wealth were erased in the massacre. Tulsa’s racial segregation and the struggle of its Black community remains.\u003c/p>\n\u003cp>Some people pop up in multiple documentaries, including the \u003ca href=\"http://robertturnerministries.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Robert Turner,\u003c/a> the sharp-dressing pastor of Historic Vernon AME Church. His church’s basement hid survivors of the massacre 100 years ago; more recently, Turner is shown regularly visiting Tulsa’s City Hall with a bullhorn, reminding residents of the need for memory and reparations.\u003c/p>\n\u003cp>“Pastoring a church where the members died and the survivors never saw justice, that aggravated my spirit,” Turner says in the \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">History Channel documentary\u003c/a>. “It’s an embarrassment that we have never had a district attorney investigate the worst crime in this city’s history.”\u003c/p>\n\u003cp>[aside postid='arts_13890558']Historian Hannibal B. Johnson talks about how Black people enslaved by Native Americans were freed and given land, forming the early basis for the Greenwood district’s wealth. And several experts also speak of the effort to find the rumored unmarked mass graves where Black people who were killed in the massacre may have been interred.\u003c/p>\n\u003cp>Most importantly, the films show how history’s broad trends can feed into a singular disaster. As Southern states ratcheted up racialized violence and racially oppressive laws to snatch back Black voting rights, a generation of Black veterans who had served America in World War I were no longer willing to accept the indignities of indiscriminate racial oppression.\u003c/p>\n\u003cp>When a large group of Black people showed up in Tulsa to stop the lynching of a young Black man unfairly accused of sexually assaulting a white female elevator operator—white crowds had been incited by incendiary, \u003ca href=\"https://www.okhistory.org/learn/trm3\" target=\"_blank\" rel=\"noopener noreferrer\">unfair coverage from\u003c/a> \u003cem>The Tulsa Tribune\u003c/em>—a white man tried to grab a gun from a Black man. A struggle ensued, the gun went off, and the white mob had their excuse to obliterate Black Wall Street over two days of brutal violence.\u003c/p>\n\u003cp>Here are capsule reviews of three powerful films I found most compelling, from The History Channel, CNN and PBS. Watch at least one of them to learn the kind of American history that should have been taught in classrooms and from schoolbooks nationwide for the past 100 years.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa Burning: The 1921 Race Massacre,\u003c/strong>\u003c/em>\u003cstrong> airing on The History Channel (May 30)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bHrQouNrzBI&t=1s\u003c/p>\n\u003cp>This is easily the most cinematic of the three documentaries—small surprise, given its pedigree. Co-directed and executive produced by Emmy-winner \u003ca href=\"https://www.npr.org/2018/02/18/586958598/-tell-them-we-are-rising-tackles-impact-of-historically-black-colleges\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Nelson\u003c/a> (\u003ca href=\"https://www.npr.org/2011/05/05/136025553/freedom-riders-risked-their-lives-for-equality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Freedom Riders\u003c/em>\u003c/a>), the film is also executive produced by NBA superstar Russell Westbrook, featuring original music from Branford Marsalis. The story begins with words from Rev. Turner’s bullhorn, unspooling into an epic tale of how Black people migrated to Tulsa and built a bustling, successful business district, keeping dollars in the Black community until two days of mob violence destroyed it all. Archival footage of Greenwood, looking impossibly clear and vivid, appears next to photos and inspired commentary from experts like \u003cem>The New York Times\u003c/em> columnist Brent Staples and historian Scott Ellsworth. The result is a detailed, evocative story of the massacre and its connection to modern Tulsa, including a renewed, modern effort to find mass graves. This compelling film is also paired with a six-part podcast produced by The History Channel and WNYC Studios in collaboration with KOSU public radio in Oklahoma, dubbed \u003ca href=\"https://www.wnycstudios.org/podcasts/blindspot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blindspot: Tulsa Burning\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dreamland: The Burning of Black Wall Street, \u003c/strong>\u003c/em>\u003cstrong>debuting on CNN and streaming on HBO Max (May 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bkz0dcqr3w8&t=1s\u003c/p>\n\u003cp>This film features another NBA star, LeBron James, as an executive producer, adding evocative animation sequences to newsreel footage and archival photos to re-create scenes from 100 years ago. CNN’s film traces a history similar to \u003cem>Tulsa Burning\u003c/em>, bringing cameras to modern Tulsa’s modest Greenwood district to show off small businesses continuing a historic legacy, as detailed maps display how much the area has shrunk from its successful heights 100 years ago. While Black people in 1921 enjoyed a community one expert says was like Bourbon Street, Harlem and Washington D.C. rolled into one, racist and resentful white Tulsans used pejorative phrases like “Little Africa” and “N*****town” to describe the area. Named for a popular theater in the Greenwood district, \u003cem>Dreamland\u003c/em> uses actors to read powerful quotes from politicians and publications of the time, including Tulsa’s mayor during the massacre, T. D. Evans, who blamed the Black victims of the attack for “instigating” a “negro uprising.” Rev. Turner also shows up here, pointing out areas in his church’s basement where victims huddled while the top floors of the church were destroyed. “I believe there is no expiration date on morality,” the pastor says, explaining why he remains an aggressive advocate for uncovering the mass graves and finding justice for the city’s Black community.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa: The Fire and the Forgotten,\u003c/strong>\u003c/em>\u003cstrong> premiering on PBS (May 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=diyUd6vsRV0\u003c/p>\n\u003cp>For a more personal story, consider this film, focused on the work of longtime \u003cem>Washington Post\u003c/em> journalist DeNeen L. Brown, \u003ca href=\"https://www.washingtonpost.com/people/deneen-l-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">whose reporting\u003c/a> on the Tulsa Race Massacre has spread word about the history of the attack. Brown, whose father lives in Tulsa and is a pastor at a Baptist church in town, is shown interviewing descendants of attack victims and experts leading the modern effort to find and exhume unmarked graves. She also serves as a producer on the film, alongside human rights investigator Eric Stover, who is featured in interviews as an expert source; the film is narrated by NPR’s own Michel Martin, weekend host of\u003cem> All Things Considered\u003c/em>. Viewers learn of failed efforts to sue the government for failing to protect the community—descendants were told the statute of limitations had passed. And the film shows how graphic photos of the destruction were turned into postcards and distributed by some white people. Here, the search for evidence of unmarked graves is presented as a bit of a cliffhanger, as experts work to identify likely areas for the remains, hoping to prove they are the discarded bodies of massacre victims. “Oftentimes, Black people are called on camera after something racist occurs to explain racism … to explain what happened,” Brown says in one moment. “But I can’t explain why white people hate Black people so much.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the web by Eric Deggans and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Documentaries+You+Should+Watch+About+The+Tulsa+Race+Massacre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1651,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705008289,
"excerpt": "Three new documentaries mark the 100th anniversary of one of the worst acts of racial violence in American history. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Three new documentaries mark the 100th anniversary of one of the worst acts of racial violence in American history. ",
"title": "3 Documentaries You Should Watch About the Tulsa Race Massacre | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "3 Documentaries You Should Watch About the Tulsa Race Massacre",
"datePublished": "2021-06-01T11:10:46-07:00",
"dateModified": "2024-01-11T13:24:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "3-documentaries-you-should-watch-about-the-tulsa-race-massacre",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1000923192&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 30 May 2021 05:00:00 -0400",
"nprLastModifiedDate": "Sun, 30 May 2021 17:18:27 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/30/1000923192/3-documentaries-you-should-watch-about-the-tulsa-race-massacre?ft=nprml&f=1000923192",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/05/20210530_atc_3_documentaries_you_should_watch_about_the_tulsa_race_massacre.mp3?orgId=1&topicId=1015&aggIds=1001433852,868567696&d=263&p=2&story=1000923192&ft=nprml&f=1000923192",
"nprImageAgency": "McFarlin Library Special Collections",
"nprAudioM3u": "http://api.npr.org/m3u/11001748895-b33ca1.m3u?orgId=1&topicId=1015&aggIds=1001433852,868567696&d=263&p=2&story=1000923192&ft=nprml&f=1000923192",
"nprStoryId": "1000923192",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "University of Tulsa",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 30 May 2021 16:54:00 -0400",
"path": "/arts/13898108/3-documentaries-you-should-watch-about-the-tulsa-race-massacre",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/05/20210530_atc_3_documentaries_you_should_watch_about_the_tulsa_race_massacre.mp3?orgId=1&topicId=1015&aggIds=1001433852,868567696&d=263&p=2&story=1000923192&ft=nprml&f=1000923192",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If all you know about the \u003ca href=\"https://www.tulsahistory.org/exhibit/1921-tulsa-race-massacre/\" target=\"_blank\" rel=\"noopener noreferrer\">Tulsa Race Massacre\u003c/a> is the re-creations of the attack featured in HBO series like \u003ca href=\"https://www.npr.org/2019/10/22/771998690/watchmen-creator-damon-lindelof-not-talking-about-race-felt-irresponsible\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/03/30/982668346/lovecraft-country-creator-aims-to-reclaim-the-horror-genre-for-people-of-color\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, prepare yourself for a serious education over the next few weeks.\u003c/p>\n\u003cp>Monday marked the 100th anniversary for one of the worst acts of racial violence in American history, the Tulsa Race Massacre. Back in 1921, a mob of white people tore down and burned the Greenwood district of Tulsa, Okla.—a segregated part of the city so prosperous and bustling, it was known as Black Wall Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13881199",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>According to some historians, over 1,200 homes and buildings were \u003ca href=\"https://www.tulsalibrary.org/tulsa-race-riot-1921\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed by the violence,\u003c/a> killing between 100 and 300 people. But thanks to white-dominated power structures in the city of Tulsa and state of Oklahoma, news about the massacre was wiped from many official sources for decades (several fans of \u003cem>Watchmen\u003c/em> and \u003cem>Lovecraft Country\u003c/em> have told me they had never heard of the massacre before these fictional TV shows dramatized the attack during their episodes last year and in 2019).\u003c/p>\n\u003cp>All that will likely change over the next week and beyond, as a flood of programs centered on the Tulsa Race Massacre come to television. From enterprise reporting efforts at ABC, CBS and NBC to projects on National Geographic, CNN, The History Channel and PBS, there are a wide array of documentary films and TV programs aimed at reminding Americans just how deadly unchecked racism can be.\u003c/p>\n\u003cp>After watching the films offered by \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">The History Channel\u003c/a>, \u003ca href=\"https://www.cnn.com/shows/dreamland-cnn-films\" target=\"_blank\" rel=\"noopener noreferrer\">CNN\u003c/a> and \u003ca href=\"https://www.pbs.org/show/tulsa-fire-and-forgotten/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, I saw common themes emerge. First was the power of white society to control what history is recognized, to erase uncomfortable truths and resist efforts to dig up the truth (sometimes literally, as when officials ended early attempts to find mass graves of massacre victims in 1999). Several films featured comments from longtime white residents of Tulsa, including its current mayor, G.T. Bynum, who said they didn’t even learn the Tulsa Race Massacre had happened until they were adults.\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>Such insistence on erasing Black pain from a community’s official history creates, by necessity, a shadow history kept among people of color and passed along, often by word of mouth. White America may have tried to forget Tulsa, but the massacre’s details lived in the stories of Black survivors and their descendants, handed down like bitter family heirlooms.\u003c/p>\n\u003cp>(Even worse, for a journalist like me, was to realize the role the media played back then—both in whipping up white fears about Black people through horrifically racist films and newspaper stories, while disappearing news of attacks and lynchings once white people took action.)\u003c/p>\n\u003cp>The second painful truth was the lasting damage such attacks can have on a people. According to CNN’s film, 191 Black-owned businesses stood in the Greenwood district before the massacre, including one of the finest hotels in the country. These days, there are fewer than a dozen Black-owned businesses in that same area, now reduced to a block-long main drag with modest establishments like a barbershop, health clinic and coffee shop.\u003c/p>\n\u003cp>Generations of Black wealth were erased in the massacre. Tulsa’s racial segregation and the struggle of its Black community remains.\u003c/p>\n\u003cp>Some people pop up in multiple documentaries, including the \u003ca href=\"http://robertturnerministries.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Robert Turner,\u003c/a> the sharp-dressing pastor of Historic Vernon AME Church. His church’s basement hid survivors of the massacre 100 years ago; more recently, Turner is shown regularly visiting Tulsa’s City Hall with a bullhorn, reminding residents of the need for memory and reparations.\u003c/p>\n\u003cp>“Pastoring a church where the members died and the survivors never saw justice, that aggravated my spirit,” Turner says in the \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">History Channel documentary\u003c/a>. “It’s an embarrassment that we have never had a district attorney investigate the worst crime in this city’s history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890558",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Historian Hannibal B. Johnson talks about how Black people enslaved by Native Americans were freed and given land, forming the early basis for the Greenwood district’s wealth. And several experts also speak of the effort to find the rumored unmarked mass graves where Black people who were killed in the massacre may have been interred.\u003c/p>\n\u003cp>Most importantly, the films show how history’s broad trends can feed into a singular disaster. As Southern states ratcheted up racialized violence and racially oppressive laws to snatch back Black voting rights, a generation of Black veterans who had served America in World War I were no longer willing to accept the indignities of indiscriminate racial oppression.\u003c/p>\n\u003cp>When a large group of Black people showed up in Tulsa to stop the lynching of a young Black man unfairly accused of sexually assaulting a white female elevator operator—white crowds had been incited by incendiary, \u003ca href=\"https://www.okhistory.org/learn/trm3\" target=\"_blank\" rel=\"noopener noreferrer\">unfair coverage from\u003c/a> \u003cem>The Tulsa Tribune\u003c/em>—a white man tried to grab a gun from a Black man. A struggle ensued, the gun went off, and the white mob had their excuse to obliterate Black Wall Street over two days of brutal violence.\u003c/p>\n\u003cp>Here are capsule reviews of three powerful films I found most compelling, from The History Channel, CNN and PBS. Watch at least one of them to learn the kind of American history that should have been taught in classrooms and from schoolbooks nationwide for the past 100 years.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa Burning: The 1921 Race Massacre,\u003c/strong>\u003c/em>\u003cstrong> airing on The History Channel (May 30)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bHrQouNrzBI'\n title='//www.youtube.com/embed/bHrQouNrzBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is easily the most cinematic of the three documentaries—small surprise, given its pedigree. Co-directed and executive produced by Emmy-winner \u003ca href=\"https://www.npr.org/2018/02/18/586958598/-tell-them-we-are-rising-tackles-impact-of-historically-black-colleges\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Nelson\u003c/a> (\u003ca href=\"https://www.npr.org/2011/05/05/136025553/freedom-riders-risked-their-lives-for-equality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Freedom Riders\u003c/em>\u003c/a>), the film is also executive produced by NBA superstar Russell Westbrook, featuring original music from Branford Marsalis. The story begins with words from Rev. Turner’s bullhorn, unspooling into an epic tale of how Black people migrated to Tulsa and built a bustling, successful business district, keeping dollars in the Black community until two days of mob violence destroyed it all. Archival footage of Greenwood, looking impossibly clear and vivid, appears next to photos and inspired commentary from experts like \u003cem>The New York Times\u003c/em> columnist Brent Staples and historian Scott Ellsworth. The result is a detailed, evocative story of the massacre and its connection to modern Tulsa, including a renewed, modern effort to find mass graves. This compelling film is also paired with a six-part podcast produced by The History Channel and WNYC Studios in collaboration with KOSU public radio in Oklahoma, dubbed \u003ca href=\"https://www.wnycstudios.org/podcasts/blindspot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blindspot: Tulsa Burning\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dreamland: The Burning of Black Wall Street, \u003c/strong>\u003c/em>\u003cstrong>debuting on CNN and streaming on HBO Max (May 31)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bkz0dcqr3w8'\n title='//www.youtube.com/embed/bkz0dcqr3w8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This film features another NBA star, LeBron James, as an executive producer, adding evocative animation sequences to newsreel footage and archival photos to re-create scenes from 100 years ago. CNN’s film traces a history similar to \u003cem>Tulsa Burning\u003c/em>, bringing cameras to modern Tulsa’s modest Greenwood district to show off small businesses continuing a historic legacy, as detailed maps display how much the area has shrunk from its successful heights 100 years ago. While Black people in 1921 enjoyed a community one expert says was like Bourbon Street, Harlem and Washington D.C. rolled into one, racist and resentful white Tulsans used pejorative phrases like “Little Africa” and “N*****town” to describe the area. Named for a popular theater in the Greenwood district, \u003cem>Dreamland\u003c/em> uses actors to read powerful quotes from politicians and publications of the time, including Tulsa’s mayor during the massacre, T. D. Evans, who blamed the Black victims of the attack for “instigating” a “negro uprising.” Rev. Turner also shows up here, pointing out areas in his church’s basement where victims huddled while the top floors of the church were destroyed. “I believe there is no expiration date on morality,” the pastor says, explaining why he remains an aggressive advocate for uncovering the mass graves and finding justice for the city’s Black community.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa: The Fire and the Forgotten,\u003c/strong>\u003c/em>\u003cstrong> premiering on PBS (May 31)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/diyUd6vsRV0'\n title='//www.youtube.com/embed/diyUd6vsRV0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For a more personal story, consider this film, focused on the work of longtime \u003cem>Washington Post\u003c/em> journalist DeNeen L. Brown, \u003ca href=\"https://www.washingtonpost.com/people/deneen-l-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">whose reporting\u003c/a> on the Tulsa Race Massacre has spread word about the history of the attack. Brown, whose father lives in Tulsa and is a pastor at a Baptist church in town, is shown interviewing descendants of attack victims and experts leading the modern effort to find and exhume unmarked graves. She also serves as a producer on the film, alongside human rights investigator Eric Stover, who is featured in interviews as an expert source; the film is narrated by NPR’s own Michel Martin, weekend host of\u003cem> All Things Considered\u003c/em>. Viewers learn of failed efforts to sue the government for failing to protect the community—descendants were told the statute of limitations had passed. And the film shows how graphic photos of the destruction were turned into postcards and distributed by some white people. Here, the search for evidence of unmarked graves is presented as a bit of a cliffhanger, as experts work to identify likely areas for the remains, hoping to prove they are the discarded bodies of massacre victims. “Oftentimes, Black people are called on camera after something racist occurs to explain racism … to explain what happened,” Brown says in one moment. “But I can’t explain why white people hate Black people so much.”\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>This story was edited for radio by Nina Gregory, and adapted for the web by Eric Deggans and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Documentaries+You+Should+Watch+About+The+Tulsa+Race+Massacre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13898108/3-documentaries-you-should-watch-about-the-tulsa-race-massacre",
"authors": [
"byline_arts_13898108"
],
"categories": [
"arts_1",
"arts_7862",
"arts_990"
],
"tags": [
"arts_14573",
"arts_2640",
"arts_11813",
"arts_4565",
"arts_11204",
"arts_14567"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13898109",
"label": "arts_137"
},
"arts_13897888": {
"type": "posts",
"id": "arts_13897888",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897888",
"score": null,
"sort": [
1622129520000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1622129520,
"format": "standard",
"title": "‘Friends: The Reunion’ Provides Plenty of Laughs, Actively Avoids the Tough Stuff",
"headTitle": "‘Friends: The Reunion’ Provides Plenty of Laughs, Actively Avoids the Tough Stuff | KQED",
"content": "\u003cp>Watching HBO’s long-awaited \u003cem>Friends: The Reunion\u003c/em>, the thing that strikes you first is that, in many ways, the cast of \u003cem>Friends\u003c/em>—Jennifer Aniston (Rachel), Lisa Kudrow (Phoebe), Courteney Cox (Monica), Matt LeBlanc (Joey), Matthew Perry (Chandler) and David Schwimmer (Ross)—know less about \u003cem>Friends\u003c/em> than the fans do.\u003c/p>\n\u003cp>At one point, Aniston asks Schwimmer, “Do you remember the episode with the ball and you couldn’t drop the ball?” And he frowns and looks confused because he has zero memory of it whatsoever. That season five episode is literally called “The One With the Ball.”\u003c/p>\n\u003cp>[aside postid='pop_108851']At another point, LeBlanc tells Perry he kept the ball from Joey and Chandler’s foosball table as a souvenir from their time on the show. “You should’ve taken the table,” Perry replies, as if the destruction of that table wasn’t a prominent storyline in Friends’ very last episode, “The One Where They Say Goodbye.”\u003c/p>\n\u003cp>Most annoyingly, the entire cast happily concludes that, in 10 seasons—the show ran between 1994 and 2004—\u003cem>Friends\u003c/em> never once revealed what Chandler did for a living. It makes sense that neither Kudrow nor Perry would know this—both admit, mid-reunion, to having never watched the whole show. But absolutely no one else remembers that Chandler worked in “data reconfiguration and statistical factoring.” (If you don’t believe me, check “\u003ca href=\"https://movies.stackexchange.com/questions/78832/what-was-chandler-bings-job\" target=\"_blank\" rel=\"noopener noreferrer\">The One With the Cooking Class\u003c/a>” from season eight and “\u003ca href=\"https://www.youtube.com/watch?v=Z4gjQ8_Gvu4\" target=\"_blank\" rel=\"noopener noreferrer\">The One Where Rachel Goes Back to Work\u003c/a>” from season nine. It’s \u003cem>right there\u003c/em>, people!)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYM1uQ7QrTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As you can probably tell, I am, against my better judgment, a big fan of \u003cem>Friends\u003c/em>. I know its overwhelming whiteness is hideous, particularly for a show set in New York City. And I dislike immensely that it’s so consistently drenched in what \u003cem>Honest Trailers\u003c/em> once accurately referred to as a “\u003ca href=\"https://www.youtube.com/watch?v=oqDSrMK_Gyg\" target=\"_blank\" rel=\"noopener noreferrer\">thin layer of gay panic\u003c/a>.” Don’t even get me started on Joey’s tendency towards casual sexual predation. For some reason though, like a moldy old security blanket from childhood, I just can’t seem to let \u003cem>Friends\u003c/em> go. And there are millions of other humans around the world just like me. As this special episode notes, the show is estimated to have been watched more than “100 billion times across platforms.”\u003c/p>\n\u003cp>[aside postid='pop_105499']I—and most everybody that still cares enough about this 27-year-old show to tune into a nearly-two-hour special about it—recovered months ago from the fact that this wasn’t a sitcom reunion in the traditional sense. It has been said repeatedly—and it’s reiterated during \u003cem>The Reunion\u003c/em>, lest we get any ideas—that there will never, ever be another episode of \u003cem>Friends\u003c/em>. So what we have to settle for here, instead, is six entertaining people who used to play six hilarious characters, appearing together for the first time in public since 2004 and making each other laugh.\u003c/p>\n\u003cp>The interview with James Cordon is distinctly so-so—except during one genuinely funny portion where David Schwimmer angrily vents about how much he hated working with Marcel the monkey in season one. (“I would like you to be more serious about this,” Perry quips.) So too is a living room trivia quiz (based on the one from Cox’s favorite episode, “The One With the Embryos”) more contrived than it ought to be. There is, however, something genuinely moving about seeing the reunited cast on their old set, verklempt and reminiscing about old times. It’s in these more candid moments that some of the interesting behind-the-scenes tidbits emerge. (The graffiti LeBlanc left on the set after the final episode is a particular treat.)\u003c/p>\n\u003cp>Many of the most insightful revelations unfold, not via the cast, but rather through documentary-style interviews with \u003cem>Friends\u003c/em>’ creators, writers and producers, Kevin Bright, Marta Kauffman and David Crane. These encompass the original inspiration for the show, casting decisions, and on-the-fly plot pivots. (\u003ca href=\"https://www.google.com/search?q=friends+pivot+gif&rlz=1C5GCEA_enUS937US938&tbm=isch&source=iu&ictx=1&fir=kxLUKN6BoGo40M%252Cz62Kzgv2JUFq1M%252C_&vet=1&usg=AI4_-kSjosDbXMEC6gEzAiLAY6Z1UzGjIw&sa=X&ved=2ahUKEwiZkqyhtunwAhXGjp4KHWywCZ0Q9QF6BAgUEAE#imgrc=kxLUKN6BoGo40M\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PIVOT!\u003c/em>\u003c/a>) When Bright reveals he only discovered Lisa Kudrow because she’d made an appearance on \u003cem>Mad About You\u003c/em> while his husband was writing for it, you appreciate just how precarious the show’s successful chemistry was. Also testament to that is the fact that the guy Joey tries to pass off as his identical twin in “The One With Unagi” was played by an actor who very nearly got the part of Joey himself.\u003c/p>\n\u003cp>Padding out all of this are a wealth of delightful appearances from former cast members. These include Reese Witherspoon (who played Rachel’s sister Jill), Tom Selleck (Monica’s boyfriend Richard), Christina Pickles and Elliott Gould (Ross and Monica’s parents), Maggie Wheeler (Janice!), James Michael Tyler (Gunther!), Thomas Lennon (Joey’s identical hand twin!) and Mr. Heckles himself, Larry Hankin. Paul Rudd is a glaring, unexplained absence difficult not to be bummed out about.\u003c/p>\n\u003cp>But the cameos don’t stop there. Justin Bieber makes an appearance that will have you \u003cem>really\u003c/em> liking Justin Bieber. Cindy Crawford shows up. So does BTS. And when Cara Delevingne emerges, Jennifer Aniston’s jaw literally drops. On top of that, David Beckham, Mindy Kaling, Kit Harington and Malala Yousafzai pick their favorite episodes. Oh, and the musical guest who shows up to sing “Smelly Cat” with Lisa Kudrow is so special, I don’t even wanna spoil it.\u003c/p>\n\u003cp>So yes, this reunion is an enormous amount of fun. And there is plenty for fans to chew on here. Plus, of course, the warmth between the former castmates all these years later is legitimately a joy to behold. But where the reunion stumbles is in its unwavering commitment to keeping things light. Especially since Perry in particular seems genuinely overwhelmed by memories of that period in his life. He talks the least out of anyone else on set, and his occasionally slumped posture and difficulty enunciating hint at darker things going on beneath the surface. Occasionally, he tries to acknowledge them out loud, but these moments quickly pass.\u003c/p>\n\u003cp>[aside postid='pop_106765']“I felt like I was gonna die if they didn’t laugh,” Perry says of the anxiety he experienced performing in front of a live studio audience every week. “I would sometimes say a line and they wouldn’t laugh and I would sweat and go into convulsions.” Kudrow seems genuinely upset to only be hearing about this a quarter of a century after the fact. But rather than delving into whether or not this was a factor in Perry’s well-publicized struggles with addiction, \u003cem>Friends: The Reunion\u003c/em> rushes on to the next happier, shinier thing.\u003c/p>\n\u003cp>It should come as no surprise then, that \u003cem>The Reunion\u003c/em> makes zero attempt to tackle the criticisms \u003cem>Friends\u003c/em> now regularly receives around its lack of diversity and inclusion. Worse, it doesn’t feel like a coincidence that, in a mid-show segment featuring fans from around the globe, 11 out of 13 of them are either folks of color or members of the LGBTQ community. Though these fans’ stories are genuinely moving, the segment feels like a cynical attempt by producers to convince modern viewers that \u003cem>Friends\u003c/em> wasn’t so straight and white after all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, what \u003cem>Friends: The Reunion\u003c/em> does very well is what the sitcom itself excelled at: glossing over anything important or serious, and instead offering viewers something ridiculous to laugh at. And in that regard, it absolutely succeeds. Fans will undoubtedly want to watch this more than once. It’s just a shame the special doesn’t give its critics any reason to tune in.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1346,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705008312,
"excerpt": "The HBO special does exactly what the sitcom excelled at: glossing over anything important or dark, in favor of light comedy.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The HBO special does exactly what the sitcom excelled at: glossing over anything important or dark, in favor of light comedy.",
"title": "‘Friends: The Reunion’ Provides Plenty of Laughs, Actively Avoids the Tough Stuff | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Friends: The Reunion’ Provides Plenty of Laughs, Actively Avoids the Tough Stuff",
"datePublished": "2021-05-27T08:32:00-07:00",
"dateModified": "2024-01-11T13:25:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watching HBO’s long-awaited \u003cem>Friends: The Reunion\u003c/em>, the thing that strikes you first is that, in many ways, the cast of \u003cem>Friends\u003c/em>—Jennifer Aniston (Rachel), Lisa Kudrow (Phoebe), Courteney Cox (Monica), Matt LeBlanc (Joey), Matthew Perry (Chandler) and David Schwimmer (Ross)—know less about \u003cem>Friends\u003c/em> than the fans do.\u003c/p>\n\u003cp>At one point, Aniston asks Schwimmer, “Do you remember the episode with the ball and you couldn’t drop the ball?” And he frowns and looks confused because he has zero memory of it whatsoever. That season five episode is literally called “The One With the Ball.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108851",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At another point, LeBlanc tells Perry he kept the ball from Joey and Chandler’s foosball table as a souvenir from their time on the show. “You should’ve taken the table,” Perry replies, as if the destruction of that table wasn’t a prominent storyline in Friends’ very last episode, “The One Where They Say Goodbye.”\u003c/p>\n\u003cp>Most annoyingly, the entire cast happily concludes that, in 10 seasons—the show ran between 1994 and 2004—\u003cem>Friends\u003c/em> never once revealed what Chandler did for a living. It makes sense that neither Kudrow nor Perry would know this—both admit, mid-reunion, to having never watched the whole show. But absolutely no one else remembers that Chandler worked in “data reconfiguration and statistical factoring.” (If you don’t believe me, check “\u003ca href=\"https://movies.stackexchange.com/questions/78832/what-was-chandler-bings-job\" target=\"_blank\" rel=\"noopener noreferrer\">The One With the Cooking Class\u003c/a>” from season eight and “\u003ca href=\"https://www.youtube.com/watch?v=Z4gjQ8_Gvu4\" target=\"_blank\" rel=\"noopener noreferrer\">The One Where Rachel Goes Back to Work\u003c/a>” from season nine. It’s \u003cem>right there\u003c/em>, people!)\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/uYM1uQ7QrTc'\n title='//www.youtube.com/embed/uYM1uQ7QrTc'\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>As you can probably tell, I am, against my better judgment, a big fan of \u003cem>Friends\u003c/em>. I know its overwhelming whiteness is hideous, particularly for a show set in New York City. And I dislike immensely that it’s so consistently drenched in what \u003cem>Honest Trailers\u003c/em> once accurately referred to as a “\u003ca href=\"https://www.youtube.com/watch?v=oqDSrMK_Gyg\" target=\"_blank\" rel=\"noopener noreferrer\">thin layer of gay panic\u003c/a>.” Don’t even get me started on Joey’s tendency towards casual sexual predation. For some reason though, like a moldy old security blanket from childhood, I just can’t seem to let \u003cem>Friends\u003c/em> go. And there are millions of other humans around the world just like me. As this special episode notes, the show is estimated to have been watched more than “100 billion times across platforms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_105499",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I—and most everybody that still cares enough about this 27-year-old show to tune into a nearly-two-hour special about it—recovered months ago from the fact that this wasn’t a sitcom reunion in the traditional sense. It has been said repeatedly—and it’s reiterated during \u003cem>The Reunion\u003c/em>, lest we get any ideas—that there will never, ever be another episode of \u003cem>Friends\u003c/em>. So what we have to settle for here, instead, is six entertaining people who used to play six hilarious characters, appearing together for the first time in public since 2004 and making each other laugh.\u003c/p>\n\u003cp>The interview with James Cordon is distinctly so-so—except during one genuinely funny portion where David Schwimmer angrily vents about how much he hated working with Marcel the monkey in season one. (“I would like you to be more serious about this,” Perry quips.) So too is a living room trivia quiz (based on the one from Cox’s favorite episode, “The One With the Embryos”) more contrived than it ought to be. There is, however, something genuinely moving about seeing the reunited cast on their old set, verklempt and reminiscing about old times. It’s in these more candid moments that some of the interesting behind-the-scenes tidbits emerge. (The graffiti LeBlanc left on the set after the final episode is a particular treat.)\u003c/p>\n\u003cp>Many of the most insightful revelations unfold, not via the cast, but rather through documentary-style interviews with \u003cem>Friends\u003c/em>’ creators, writers and producers, Kevin Bright, Marta Kauffman and David Crane. These encompass the original inspiration for the show, casting decisions, and on-the-fly plot pivots. (\u003ca href=\"https://www.google.com/search?q=friends+pivot+gif&rlz=1C5GCEA_enUS937US938&tbm=isch&source=iu&ictx=1&fir=kxLUKN6BoGo40M%252Cz62Kzgv2JUFq1M%252C_&vet=1&usg=AI4_-kSjosDbXMEC6gEzAiLAY6Z1UzGjIw&sa=X&ved=2ahUKEwiZkqyhtunwAhXGjp4KHWywCZ0Q9QF6BAgUEAE#imgrc=kxLUKN6BoGo40M\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PIVOT!\u003c/em>\u003c/a>) When Bright reveals he only discovered Lisa Kudrow because she’d made an appearance on \u003cem>Mad About You\u003c/em> while his husband was writing for it, you appreciate just how precarious the show’s successful chemistry was. Also testament to that is the fact that the guy Joey tries to pass off as his identical twin in “The One With Unagi” was played by an actor who very nearly got the part of Joey himself.\u003c/p>\n\u003cp>Padding out all of this are a wealth of delightful appearances from former cast members. These include Reese Witherspoon (who played Rachel’s sister Jill), Tom Selleck (Monica’s boyfriend Richard), Christina Pickles and Elliott Gould (Ross and Monica’s parents), Maggie Wheeler (Janice!), James Michael Tyler (Gunther!), Thomas Lennon (Joey’s identical hand twin!) and Mr. Heckles himself, Larry Hankin. Paul Rudd is a glaring, unexplained absence difficult not to be bummed out about.\u003c/p>\n\u003cp>But the cameos don’t stop there. Justin Bieber makes an appearance that will have you \u003cem>really\u003c/em> liking Justin Bieber. Cindy Crawford shows up. So does BTS. And when Cara Delevingne emerges, Jennifer Aniston’s jaw literally drops. On top of that, David Beckham, Mindy Kaling, Kit Harington and Malala Yousafzai pick their favorite episodes. Oh, and the musical guest who shows up to sing “Smelly Cat” with Lisa Kudrow is so special, I don’t even wanna spoil it.\u003c/p>\n\u003cp>So yes, this reunion is an enormous amount of fun. And there is plenty for fans to chew on here. Plus, of course, the warmth between the former castmates all these years later is legitimately a joy to behold. But where the reunion stumbles is in its unwavering commitment to keeping things light. Especially since Perry in particular seems genuinely overwhelmed by memories of that period in his life. He talks the least out of anyone else on set, and his occasionally slumped posture and difficulty enunciating hint at darker things going on beneath the surface. Occasionally, he tries to acknowledge them out loud, but these moments quickly pass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_106765",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I felt like I was gonna die if they didn’t laugh,” Perry says of the anxiety he experienced performing in front of a live studio audience every week. “I would sometimes say a line and they wouldn’t laugh and I would sweat and go into convulsions.” Kudrow seems genuinely upset to only be hearing about this a quarter of a century after the fact. But rather than delving into whether or not this was a factor in Perry’s well-publicized struggles with addiction, \u003cem>Friends: The Reunion\u003c/em> rushes on to the next happier, shinier thing.\u003c/p>\n\u003cp>It should come as no surprise then, that \u003cem>The Reunion\u003c/em> makes zero attempt to tackle the criticisms \u003cem>Friends\u003c/em> now regularly receives around its lack of diversity and inclusion. Worse, it doesn’t feel like a coincidence that, in a mid-show segment featuring fans from around the globe, 11 out of 13 of them are either folks of color or members of the LGBTQ community. Though these fans’ stories are genuinely moving, the segment feels like a cynical attempt by producers to convince modern viewers that \u003cem>Friends\u003c/em> wasn’t so straight and white after all.\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>In the end, what \u003cem>Friends: The Reunion\u003c/em> does very well is what the sitcom itself excelled at: glossing over anything important or serious, and instead offering viewers something ridiculous to laugh at. And in that regard, it absolutely succeeds. Fans will undoubtedly want to watch this more than once. It’s just a shame the special doesn’t give its critics any reason to tune in.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10124",
"arts_11323",
"arts_8350",
"arts_5422"
],
"featImg": "arts_13897934",
"label": "arts"
},
"arts_13897709": {
"type": "posts",
"id": "arts_13897709",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897709",
"score": null,
"sort": [
1621877061000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1621877061,
"format": "standard",
"title": "New 'Master of None' Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable",
"headTitle": "New ‘Master of None’ Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable | KQED",
"content": "\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>[aside postid='pop_98503']But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>[aside postid='arts_11204159']Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 913,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705008329,
"excerpt": "Season 3 of 'Master of None' dodges questions about star and co-creator Aziz Ansari, by focusing on Lena Waithe's character.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Season 3 of 'Master of None' dodges questions about star and co-creator Aziz Ansari, by focusing on Lena Waithe's character.",
"title": "New 'Master of None' Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New 'Master of None' Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable",
"datePublished": "2021-05-24T10:24:21-07:00",
"dateModified": "2024-01-11T13:25:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-master-of-none-season-allows-aziz-ansari-to-stay-off-screen-and-unaccountable",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=998723494&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Eric Deggans",
"nprStoryDate": "Sat, 22 May 2021 05:00:02 -0400",
"nprLastModifiedDate": "Sat, 22 May 2021 07:23:50 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/05/22/998723494/master-of-none-returns-with-mixed-results-and-unanswered-questions?ft=nprml&f=998723494",
"nprImageAgency": "Netflix",
"nprStoryId": "998723494",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 22 May 2021 07:23:00 -0400",
"path": "/arts/13897709/new-master-of-none-season-allows-aziz-ansari-to-stay-off-screen-and-unaccountable",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_98503",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\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>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\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/BQqh6yZaRNI'\n title='//www.youtube.com/embed/BQqh6yZaRNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11204159",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897709/new-master-of-none-season-allows-aziz-ansari-to-stay-off-screen-and-unaccountable",
"authors": [
"byline_arts_13897709"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_3324"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13897710",
"label": "arts_137"
},
"arts_13897166": {
"type": "posts",
"id": "arts_13897166",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897166",
"score": null,
"sort": [
1621017211000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1621017211,
"format": "standard",
"title": "'Underground Railroad' is a Hard But Beautiful Reflection on Black Pain",
"headTitle": "‘Underground Railroad’ is a Hard But Beautiful Reflection on Black Pain | KQED",
"content": "\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>[aside postid='arts_13873526']On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>[aside postid='arts_13844783']Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_Pq5Usc_JDA\u003c/p>\n\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>[aside postid='arts_13875290']Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>[aside postid='arts_13895452']There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And that’s always something worth watching.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1294,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705008380,
"excerpt": "Barry Jenkins' adaptation of Colson Whitehead's book is a TV masterpiece arriving when we're most prepared for its message.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Barry Jenkins' adaptation of Colson Whitehead's book is a TV masterpiece arriving when we're most prepared for its message.",
"title": "'Underground Railroad' is a Hard But Beautiful Reflection on Black Pain | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Underground Railroad' is a Hard But Beautiful Reflection on Black Pain",
"datePublished": "2021-05-14T11:33:31-07:00",
"dateModified": "2024-01-11T13:26:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "underground-railroad-is-a-hard-but-beautiful-reflection-on-black-pain",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=996680203&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 14 May 2021 06:51:56 -0400",
"nprLastModifiedDate": "Fri, 14 May 2021 06:51:56 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/14/996680203/underground-railroad-is-a-hard-but-beautiful-reflection-on-black-pain?ft=nprml&f=996680203",
"nprImageAgency": "Amazon Studios",
"nprStoryId": "996680203",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Atsushi Nishijima",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 14 May 2021 06:51:00 -0400",
"path": "/arts/13897166/underground-railroad-is-a-hard-but-beautiful-reflection-on-black-pain",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13873526",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\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 when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13844783",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\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/_Pq5Usc_JDA'\n title='//www.youtube.com/embed/_Pq5Usc_JDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13875290",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13895452",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\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>And that’s always something worth watching.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897166/underground-railroad-is-a-hard-but-beautiful-reflection-on-black-pain",
"authors": [
"byline_arts_13897166"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_928",
"arts_977"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13897167",
"label": "arts_137"
},
"arts_13897119": {
"type": "posts",
"id": "arts_13897119",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897119",
"score": null,
"sort": [
1620930715000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1620930715,
"format": "standard",
"title": "A Comedic Generational Divide Gets Bridged in HBO's 'Hacks'",
"headTitle": "A Comedic Generational Divide Gets Bridged in HBO’s ‘Hacks’ | KQED",
"content": "\u003cp>There exists, in some alternate universe, a version of the new HBO Max series \u003cem>Hacks \u003c/em>that is spikier, faster, meaner—and as a result, considerably thinner, less generous and less rewarding—than the one that premieres today.\u003c/p>\n\u003cp>Happily, this one’s pretty great, because it achieves and maintains a delicate balance born out of: 1. Knowing its subject and 2. A determination to treat its two lead characters fairly.\u003c/p>\n\u003cp>There’s a make-or-break moment in the pilot that establishes that balance, that confidence and that generosity all at once: Ava (Hannah Einbinder), a successful young comedy writer fallen on hard times, has been forced by her manager (co-creator Paul W. Downs) to meet legendary standup comic Deborah Vance (Jean Smart) at her Vegas home. Deborah’s Vegas residency is threatened by a casino owner looking to reach a younger audience than Deborah draws, so she reluctantly agrees to the meet.\u003c/p>\n\u003cp>[aside postid='arts_13895500']The battle lines are drawn: Deborah is a comic of the Joan Rivers generation and mindset—her act is full of bawdy zingers at her ex-husband and winking self-deprecation at the prospect of aging. Every joke builds to a punchline that’s been honed to practiced perfection over the years. She’s a consummate pro, even if her references are getting rusty (she’s still going to the Anna Nicole Smith well, for example). There’s an edge to her comedy, sure, but it’s not one so sharp that it threatens to cut any of the thousands of tourists that show up to see her shows between hitting the nickel slots.\u003c/p>\n\u003cp>Ava’s comedy is weirder, more conceptual. Younger. Birthed and fueled by social media, she sees traditional punchlines as a marker of hackdom; they are things to be fled, in favor of, say, “a 25-tweet thread from the perspective of my Lexapro.” She’s also got a set of hackles that get dependably raised by Deborah’s coarser, less enlightened jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wE51pzVpwBg\u003c/p>\n\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>[aside postid='arts_13891872']Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1157,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705008387,
"excerpt": "Two women attempt to reconcile their respective approaches to comedy in HBO Max's smart, sharp and surprisingly warm series.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two women attempt to reconcile their respective approaches to comedy in HBO Max's smart, sharp and surprisingly warm series.",
"title": "A Comedic Generational Divide Gets Bridged in HBO's 'Hacks' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Comedic Generational Divide Gets Bridged in HBO's 'Hacks'",
"datePublished": "2021-05-13T11:31:55-07:00",
"dateModified": "2024-01-11T13:26:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-comedic-generational-divide-gets-bridged-in-hbos-hacks",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=996117911&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 13 May 2021 05:00:00 -0400",
"nprLastModifiedDate": "Thu, 13 May 2021 06:46:29 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly?ft=nprml&f=996117911",
"nprImageAgency": "HBO Max",
"nprStoryId": "996117911",
"nprByline": "Glen Weldon",
"sticky": false,
"nprImageCredit": "Jake Niles Getter",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 13 May 2021 06:46:00 -0400",
"path": "/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There exists, in some alternate universe, a version of the new HBO Max series \u003cem>Hacks \u003c/em>that is spikier, faster, meaner—and as a result, considerably thinner, less generous and less rewarding—than the one that premieres today.\u003c/p>\n\u003cp>Happily, this one’s pretty great, because it achieves and maintains a delicate balance born out of: 1. Knowing its subject and 2. A determination to treat its two lead characters fairly.\u003c/p>\n\u003cp>There’s a make-or-break moment in the pilot that establishes that balance, that confidence and that generosity all at once: Ava (Hannah Einbinder), a successful young comedy writer fallen on hard times, has been forced by her manager (co-creator Paul W. Downs) to meet legendary standup comic Deborah Vance (Jean Smart) at her Vegas home. Deborah’s Vegas residency is threatened by a casino owner looking to reach a younger audience than Deborah draws, so she reluctantly agrees to the meet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13895500",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The battle lines are drawn: Deborah is a comic of the Joan Rivers generation and mindset—her act is full of bawdy zingers at her ex-husband and winking self-deprecation at the prospect of aging. Every joke builds to a punchline that’s been honed to practiced perfection over the years. She’s a consummate pro, even if her references are getting rusty (she’s still going to the Anna Nicole Smith well, for example). There’s an edge to her comedy, sure, but it’s not one so sharp that it threatens to cut any of the thousands of tourists that show up to see her shows between hitting the nickel slots.\u003c/p>\n\u003cp>Ava’s comedy is weirder, more conceptual. Younger. Birthed and fueled by social media, she sees traditional punchlines as a marker of hackdom; they are things to be fled, in favor of, say, “a 25-tweet thread from the perspective of my Lexapro.” She’s also got a set of hackles that get dependably raised by Deborah’s coarser, less enlightened jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\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/wE51pzVpwBg'\n title='//www.youtube.com/embed/wE51pzVpwBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891872",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\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>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks",
"authors": [
"byline_arts_13897119"
],
"categories": [
"arts_1",
"arts_968",
"arts_990"
],
"tags": [
"arts_8350",
"arts_8104"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13897120",
"label": "arts_137"
},
"arts_13897056": {
"type": "posts",
"id": "arts_13897056",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897056",
"score": null,
"sort": [
1620850657000
]
},
"guestAuthors": [],
"slug": "watch-the-first-trailer-for-blindspotting-rafael-casal-and-daveed-diggs-tv-spin-off",
"title": "Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off",
"publishDate": 1620850657,
"format": "standard",
"headTitle": "Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>[aside postid='arts_13837184']The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCtdIC666Ec\u003c/p>\n\n",
"blocks": [],
"excerpt": "The eight-part half-hour Starz dramedy premieres June 13.",
"status": "publish",
"parent": 0,
"modified": 1726771285,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 299
},
"headData": {
"title": "Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off | KQED",
"description": "The eight-part half-hour Starz dramedy premieres June 13.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off",
"datePublished": "2021-05-12T13:17:37-07:00",
"dateModified": "2024-09-19T11:41:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13897056/watch-the-first-trailer-for-blindspotting-rafael-casal-and-daveed-diggs-tv-spin-off",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13837184",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\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>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fCtdIC666Ec'\n title='//www.youtube.com/embed/fCtdIC666Ec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897056/watch-the-first-trailer-for-blindspotting-rafael-casal-and-daveed-diggs-tv-spin-off",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_2468",
"arts_2467",
"arts_5569",
"arts_1143",
"arts_5308",
"arts_5422"
],
"featImg": "arts_13897066",
"label": "arts"
},
"arts_13897078": {
"type": "posts",
"id": "arts_13897078",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897078",
"score": null,
"sort": [
1620848843000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1620848843,
"format": "standard",
"title": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022",
"headTitle": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022 | KQED",
"content": "\u003cp>TV host Ellen DeGeneres is pulling the plug on her successful daytime TV variety/comedy/talk show at the end of this season. For more than 18 years, she has famously danced with her guests and the audience, played games and pranks with them and given away prizes. She has interviewed everyone from Hollywood A-listers to precocious children. But now, she and Warner Brothers Television have said \u003ca href=\"https://www.ellentube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ellen DeGeneres Show\u003c/em>\u003c/a> will end in 2022.\u003c/p>\n\u003cp>“When you’re a creative person, you constantly need to be challenged,” DeGeneres told \u003cem>The Hollywood Reporter \u003c/em>in an exclusive interview, “and as great as this show is, and as fun as it is, it’s just not a challenge anymore.”\u003c/p>\n\u003cp>She’ll be talking about her decision on her show today. And tomorrow, she’ll sit down with friend and guest Oprah Winfrey to talk some more.\u003c/p>\n\u003cp>[aside postid='arts_13878678']“Although all good things must come to an end, you still have hope that the truly great things never will,” said Mike Darnell, the president of Warner Brothers Unscripted Television, in a statement. He said DeGeneres’ show “started as the little program that could and became an absolute phenomenon. Over the years, it established itself as the premiere destination for both superstars and incredible heartfelt human interest stories. The show and Ellen brought comedy, joy, happiness, comfort (and dancing!) to countless millions every day for 18 years. It was and is an indelible piece of the television landscape, and it will be sorely missed.”\u003c/p>\n\u003cp>The standup comedian began her talk show in 2003, five years after coming out on her sitcom, \u003cem>Ellen,\u003c/em> and \u003ca href=\"https://time.com/4728994/ellen-degeneres-1997-coming-out-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">announcing on the cover of \u003cem>Time \u003c/em>Magazine\u003c/a>: “Yep, I’m Gay.” For that, President Barack Obama bestowed on her the Presidential Medal of Freedom. She’s won the Kennedy Center’s Mark Twain Prize for American Humor, and her television show has earned daytime Emmy awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In sharp contrast to her public image as everyone’s good friend, happy to listen, she presents herself—with tongue in cheek—as cartoonishly aloof and indifferent, stuck in a privileged bubble, cracking several jokes, for instance, about her fabulous wealth,” \u003cem>The New York Times\u003c/em> wrote in a profile of DeGeneres. In the article, her wife, actress Portia de Rossi, encouraged her to move away from her talk show. “I just think she’s such a brilliant actress and stand-up that it doesn’t have to be this talk show for her creativity,” de Rossi said. “There are other things she could tackle.” But DeGeneres said her brother, and Warner Brothers executives, urged her to stay on, saying the audience needed her positivity on TV every day. She signed a new contract.\u003c/p>\n\u003cp>But last year, former and current staffers who remained anonymous claimed that the show was a toxic workplace. They told \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Buzzfeed \u003c/em>\u003c/a>they experienced racist comments, fear and intimidation on set, and some alleged they were sexually harassed by the show’s producers. WarnerMedia investigated, and fired three of the show’s executive producers and the head writer. DeGeneres, who based her persona on urging people to “be kind,” \u003ca href=\"https://www.nbcnews.com/news/all/ellen-degeneres-apologizes-staff-after-reports-toxic-workplace-i-take-n1235443\" target=\"_blank\" rel=\"noopener noreferrer\">apologized to her staff\u003c/a>. In a memo, she wrote that “she intended for her show to be a place where ‘no one would ever raise their voice, and everyone would be treated with respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Egn3CuQRHW8\u003c/p>\n\u003cp>She opened her 18th season in September with an apology to her audience. “I learned that things happened here that never should have happened. I take that very seriously,” she said. “I know that I’m in a position of privilege and power, and I realize that with that comes responsibility, and I take responsibility for what happens at my show.”\u003c/p>\n\u003cp>[aside postid='arts_13884094']DeGeneres said the show was starting a new chapter. “My intention is to always be the best person I can be. And if I’ve ever let someone down, if I’ve ever hurt their feelings, I am so sorry for that. If that’s the case, I have let myself down and I’ve hurt myself as well because I always try to grow as a person. I look at everything that comes into my life is an opportunity to learn. I got into this business to make people laugh and feel good. That’s my favorite thing to do. That, and Jenga.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Brothers says DeGeneres will still continue on Fox’s \u003cem>The Masked Dancer\u003c/em>, NBC’s \u003cem>Ellen’s Game of Games\u003c/em> and HBO Max’s \u003cem>Ellen’s Next Great Designer\u003c/em>. Her Ellen Digital Ventures includes more than 60 original series, including \u003cem>Momsplaining With Kristin Bell\u003c/em>. She is also producing documentaries and specials for Discovery, and according to \u003cem>The Hollywood Reporter,\u003c/em> she is hoping for more acting roles and time for her conservation efforts.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ellen+DeGeneres+Will+End+Her+Daytime+Talk+Show+In+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 861,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705008390,
"excerpt": "In the midst of toxic workplace allegations, the host announced her show would end, citing a desire for new challenges.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In the midst of toxic workplace allegations, the host announced her show would end, citing a desire for new challenges.",
"title": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022",
"datePublished": "2021-05-12T12:47:23-07:00",
"dateModified": "2024-01-11T13:26:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ellen-degeneres-will-end-her-daytime-talk-show-in-2022",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=996209438&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 12 May 2021 13:35:55 -0400",
"nprLastModifiedDate": "Wed, 12 May 2021 13:37:51 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/12/996209438/ellen-degeneres-will-end-her-daytime-talk-show-in-2022?ft=nprml&f=996209438",
"nprImageAgency": "Getty Images",
"nprStoryId": "996209438",
"nprByline": "Mandalit del Barco",
"sticky": false,
"nprImageCredit": "Kevork Djansezian",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 12 May 2021 13:35:00 -0400",
"path": "/arts/13897078/ellen-degeneres-will-end-her-daytime-talk-show-in-2022",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV host Ellen DeGeneres is pulling the plug on her successful daytime TV variety/comedy/talk show at the end of this season. For more than 18 years, she has famously danced with her guests and the audience, played games and pranks with them and given away prizes. She has interviewed everyone from Hollywood A-listers to precocious children. But now, she and Warner Brothers Television have said \u003ca href=\"https://www.ellentube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ellen DeGeneres Show\u003c/em>\u003c/a> will end in 2022.\u003c/p>\n\u003cp>“When you’re a creative person, you constantly need to be challenged,” DeGeneres told \u003cem>The Hollywood Reporter \u003c/em>in an exclusive interview, “and as great as this show is, and as fun as it is, it’s just not a challenge anymore.”\u003c/p>\n\u003cp>She’ll be talking about her decision on her show today. And tomorrow, she’ll sit down with friend and guest Oprah Winfrey to talk some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13878678",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Although all good things must come to an end, you still have hope that the truly great things never will,” said Mike Darnell, the president of Warner Brothers Unscripted Television, in a statement. He said DeGeneres’ show “started as the little program that could and became an absolute phenomenon. Over the years, it established itself as the premiere destination for both superstars and incredible heartfelt human interest stories. The show and Ellen brought comedy, joy, happiness, comfort (and dancing!) to countless millions every day for 18 years. It was and is an indelible piece of the television landscape, and it will be sorely missed.”\u003c/p>\n\u003cp>The standup comedian began her talk show in 2003, five years after coming out on her sitcom, \u003cem>Ellen,\u003c/em> and \u003ca href=\"https://time.com/4728994/ellen-degeneres-1997-coming-out-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">announcing on the cover of \u003cem>Time \u003c/em>Magazine\u003c/a>: “Yep, I’m Gay.” For that, President Barack Obama bestowed on her the Presidential Medal of Freedom. She’s won the Kennedy Center’s Mark Twain Prize for American Humor, and her television show has earned daytime Emmy awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In sharp contrast to her public image as everyone’s good friend, happy to listen, she presents herself—with tongue in cheek—as cartoonishly aloof and indifferent, stuck in a privileged bubble, cracking several jokes, for instance, about her fabulous wealth,” \u003cem>The New York Times\u003c/em> wrote in a profile of DeGeneres. In the article, her wife, actress Portia de Rossi, encouraged her to move away from her talk show. “I just think she’s such a brilliant actress and stand-up that it doesn’t have to be this talk show for her creativity,” de Rossi said. “There are other things she could tackle.” But DeGeneres said her brother, and Warner Brothers executives, urged her to stay on, saying the audience needed her positivity on TV every day. She signed a new contract.\u003c/p>\n\u003cp>But last year, former and current staffers who remained anonymous claimed that the show was a toxic workplace. They told \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Buzzfeed \u003c/em>\u003c/a>they experienced racist comments, fear and intimidation on set, and some alleged they were sexually harassed by the show’s producers. WarnerMedia investigated, and fired three of the show’s executive producers and the head writer. DeGeneres, who based her persona on urging people to “be kind,” \u003ca href=\"https://www.nbcnews.com/news/all/ellen-degeneres-apologizes-staff-after-reports-toxic-workplace-i-take-n1235443\" target=\"_blank\" rel=\"noopener noreferrer\">apologized to her staff\u003c/a>. In a memo, she wrote that “she intended for her show to be a place where ‘no one would ever raise their voice, and everyone would be treated with respect.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Egn3CuQRHW8'\n title='//www.youtube.com/embed/Egn3CuQRHW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She opened her 18th season in September with an apology to her audience. “I learned that things happened here that never should have happened. I take that very seriously,” she said. “I know that I’m in a position of privilege and power, and I realize that with that comes responsibility, and I take responsibility for what happens at my show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884094",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>DeGeneres said the show was starting a new chapter. “My intention is to always be the best person I can be. And if I’ve ever let someone down, if I’ve ever hurt their feelings, I am so sorry for that. If that’s the case, I have let myself down and I’ve hurt myself as well because I always try to grow as a person. I look at everything that comes into my life is an opportunity to learn. I got into this business to make people laugh and feel good. That’s my favorite thing to do. That, and Jenga.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Brothers says DeGeneres will still continue on Fox’s \u003cem>The Masked Dancer\u003c/em>, NBC’s \u003cem>Ellen’s Game of Games\u003c/em> and HBO Max’s \u003cem>Ellen’s Next Great Designer\u003c/em>. Her Ellen Digital Ventures includes more than 60 original series, including \u003cem>Momsplaining With Kristin Bell\u003c/em>. She is also producing documentaries and specials for Discovery, and according to \u003cem>The Hollywood Reporter,\u003c/em> she is hoping for more acting roles and time for her conservation efforts.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ellen+DeGeneres+Will+End+Her+Daytime+Talk+Show+In+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897078/ellen-degeneres-will-end-her-daytime-talk-show-in-2022",
"authors": [
"byline_arts_13897078"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10772"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13897085",
"label": "arts_137"
},
"arts_13897003": {
"type": "posts",
"id": "arts_13897003",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897003",
"score": null,
"sort": [
1620692522000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1620692522,
"format": "standard",
"title": "NBC Won't Air 2022 Golden Globes in Rebuke to Hollywood Foreign Press Association",
"headTitle": "NBC Won’t Air 2022 Golden Globes in Rebuke to Hollywood Foreign Press Association | KQED",
"content": "\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>[aside postid='arts_13893446']“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>[aside postid='arts_13892207']“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 529,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705008398,
"excerpt": "The press association promised to improve diversity and other factors. NBC said it hopes to see enough change to run the show in 2023.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The press association promised to improve diversity and other factors. NBC said it hopes to see enough change to run the show in 2023.",
"title": "NBC Won't Air 2022 Golden Globes in Rebuke to Hollywood Foreign Press Association | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NBC Won't Air 2022 Golden Globes in Rebuke to Hollywood Foreign Press Association",
"datePublished": "2021-05-10T17:22:02-07:00",
"dateModified": "2024-01-11T13:26:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nbc-wont-air-2022-golden-globes-in-rebuke-to-hollywood-foreign-press-association",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=995668540&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 10 May 2021 18:44:09 -0400",
"nprLastModifiedDate": "Mon, 10 May 2021 18:46:51 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/10/995668540/nbc-warnermedia-join-companies-turning-away-from-hollywood-foreign-press-associa?ft=nprml&f=995668540",
"nprImageAgency": "Getty Images for Hollywood Forei",
"nprStoryId": "995668540",
"nprByline": "Vanessa Romo",
"sticky": false,
"nprImageCredit": "Kevin Mazur",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 10 May 2021 18:46:00 -0400",
"path": "/arts/13897003/nbc-wont-air-2022-golden-globes-in-rebuke-to-hollywood-foreign-press-association",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13893446",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\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>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892207",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897003/nbc-wont-air-2022-golden-globes-in-rebuke-to-hollywood-foreign-press-association",
"authors": [
"byline_arts_13897003"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_14347",
"arts_9943",
"arts_6174",
"arts_8480",
"arts_3324"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13897004",
"label": "arts_137"
},
"arts_13896989": {
"type": "posts",
"id": "arts_13896989",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896989",
"score": null,
"sort": [
1620679411000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1620679411,
"format": "standard",
"title": "The Story of 'Sesame Street': From Radical Experiment to Beloved TV Mainstay",
"headTitle": "The Story of ‘Sesame Street’: From Radical Experiment to Beloved TV Mainstay | KQED",
"content": "\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>[aside postid='arts_13895138']“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rHtU7ZkTLyo\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1204,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705008400,
"excerpt": "A new documentary, 'Street Gang: How We Got to Sesame Street' recounts how the classic program reinvented children's television.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new documentary, 'Street Gang: How We Got to Sesame Street' recounts how the classic program reinvented children's television.",
"title": "The Story of 'Sesame Street': From Radical Experiment to Beloved TV Mainstay | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Story of 'Sesame Street': From Radical Experiment to Beloved TV Mainstay",
"datePublished": "2021-05-10T13:43:31-07:00",
"dateModified": "2024-01-11T13:26:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-story-of-sesame-street-from-radical-experiment-to-beloved-tv-mainstay",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=994738544&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sat, 08 May 2021 08:00:00 -0400",
"nprLastModifiedDate": "Mon, 10 May 2021 00:43:15 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/08/994738544/the-story-of-sesame-street-from-radical-experiment-to-beloved-tv-mainstay?ft=nprml&f=994738544",
"nprImageAgency": "Courtesy Sesame Workshop ",
"nprStoryId": "994738544",
"nprByline": "Sam Gringlas",
"sticky": false,
"nprImageCredit": "Robert Fuhring",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 10 May 2021 00:43:00 -0400",
"path": "/arts/13896989/the-story-of-sesame-street-from-radical-experiment-to-beloved-tv-mainstay",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13895138",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\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>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\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/rHtU7ZkTLyo'\n title='//www.youtube.com/embed/rHtU7ZkTLyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton 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>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896989/the-story-of-sesame-street-from-radical-experiment-to-beloved-tv-mainstay",
"authors": [
"byline_arts_13896989"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_2640",
"arts_7955"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896993",
"label": "arts_137"
},
"arts_13896815": {
"type": "posts",
"id": "arts_13896815",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896815",
"score": null,
"sort": [
1620330220000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1620330220,
"format": "standard",
"title": "Peacock's 'Girls5eva' is Breezy, Sharp and Just Catchy Enough",
"headTitle": "Peacock’s ‘Girls5eva’ is Breezy, Sharp and Just Catchy Enough | KQED",
"content": "\u003cp>In 2000, MTV dropped the made-for-TV movie \u003cem>2Gether\u003c/em>, a parody about a fictional boy band of the same name and its rival, Whoa. 2Gether consisted of five members, each cast to fit a very specific type, including “the bad boy” and “the heartthrob.” The not-a-real-boy-band boy band eventually became real enough—or rather, popular enough—to spawn a short-lived TV series spin-off and a second album, \u003cem>2Gether Again\u003c/em>. They even did a stint \u003ca href=\"https://ew.com/article/2000/08/15/2gether-talk-about-touring-britney-spears/\" target=\"_blank\" rel=\"noopener noreferrer\">opening for Britney Spears\u003c/a>.\u003c/p>\n\u003cp>It seems doubtful the ladies of Girls5eva, the fictional late-’90s girl group in the new Peacock series \u003cem>Girls5eva\u003c/em>, will be touring with Olivia Rodrigo anytime soon, but they nevertheless share quite a bit of DNA with 2Gether. Created by Meredith Scardino (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>) and starring Sara Bareilles, Renèe Elise Goldsberry, Busy Philipps, and Paula Pell, the comedy follows the group members as they attempt to stage a comeback and rekindle the magic of their heyday 20 years later. It’s steeped in flashbacks poking fun at the same transparently manufactured bubblegum pop scene as that MTV predecessor, and the bonkers Girls5eva song lyrics are kindred spirits of 2Gether—compare “Gonna be famous five-ever/ ‘Cause for-ever’s too short” to, say, “\u003ca href=\"https://www.youtube.com/watch?v=pMWxnjgvUQM#t=00m50s\" target=\"_blank\" rel=\"noopener noreferrer\">I know my calculus/ It says you + me = us.\u003c/a>”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WlUYv_EtEAg\u003c/p>\n\u003cp>The first of eight episodes kicks off when a young rapper named Lil’ Stinker (Jeremiah Craft) samples an old Girls5eva song and invites the defunct group to perform with him on \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em>. The reunion comes at a time when the four remaining members—we learn that fifth member Ashley (Ashley Park), who appears in flashbacks, died in a freak accident involving an Infinity Pool—are in various states of mid-life crises. Dawn (Bareilles) is feeling unfulfilled working in her brother’s restaurant; Gloria (Paula Pell) is a dentist reeling from divorce; Summer (Philipps) is a brand influencer trapped in a one-sided marriage; and Wickie (Goldsberry) has tried desperately to keep up the façade of a glam diva despite secretly being broke and out of work.\u003c/p>\n\u003cp>At first, \u003cem>Girls5eva \u003c/em>relies too heavily on well-worn fodder; unlike \u003cem>2gether—\u003c/em>and later, \u003cem>Josie and the Pussycats \u003c/em>and \u003cem>Popstar: Never Stop Never Stopping—\u003c/em>this satire is 20 years removed from the music genre it’s parodying, and sometimes, that’s more of a flaw than an asset. If silly bits about 9/11, \u003cem>Total Request Live\u003c/em>, and eccentric Swedish music hitmakers were the only things \u003cem>Girls5eva \u003c/em>served up, the enterprise would seem unnecessary, like a sophomore album arriving two decades too late.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet as the season carries on and the writers really latch on to the comedic tension between the past and the present, \u003cem>Girls5eva \u003c/em>blossoms into something beyond a blatant tool for nostalgia aimed squarely at millennials and Gen-Xers raised on a diet of Tina Fey and Fey-adjacent humor. (She and her husband/ frequent collaborator Jeff Richmond serve as two of the executive producers, and \u003cem>their \u003c/em>DNA is all over this, too, from the extremely high joke density to the quirky interstitial music to the very New York City-centric observations.)\u003c/p>\n\u003cp>[aside postid='arts_13890831']The \u003cem>Fallon \u003c/em>appearance inspires the group to give music another go, but they quickly realize their former manager Larry (Jonathan Hadary) was a controlling, exploitative sleazeball cut from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/08/21/490826928/lou-pearlman-backstreet-boys-nsync-boy-bands-dies-in-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Lou Pearlman\u003c/a> cloth, and they don’t own the rights to any of their old songs. They’re also forced to reflect on the content of those songs—which, the show emphasizes, were written by men—and how they may have helped promote misogynistic ideals. One song we hear a brief snippet of is a sexy anthem about being jailbait.\u003c/p>\n\u003cp>And so they set off on their own to write and record a new song, with the goal of performing it at the iHeartRadio Jingle Ball (because why not?), going viral, and putting Girls5eva back on the map.\u003c/p>\n\u003cp>As the women embark on their quest, it’s easy to hop along for the ride. There’s an oddly specific yet accurate running gag in one episode about boys who grow up as only children in New York City, and it gets more ridiculous with every repeated instance. Much of the soundtrack packs a comedic punch and is convincingly catchy, particularly the theme song, which you will not be able to stop singing if you binge multiple episodes in a row.\u003c/p>\n\u003cp>Between the earworms and an array of pitch-perfect guest stars and cameos including Vanessa Williams and Bowen Yang, the central performances by the Girls5eva actresses are the glue. Each character is calibrated to just the right levels of wacky and sincere, and they play off of one another fluidly, embodying their individual “types”—Dawn as the plucky de facto leader, Summer as the group’s clueless Posh Spice whose only job is to “end songs with a sultry feminasty phrase,” Gloria as the uptight workaholic who is openly gay now but was firmly in the closet during Girls5eva’s peak—while finding notes and beats far surpassing shtick.\u003c/p>\n\u003cp>[aside postid='pop_96840']This is especially true of Wickie, the show’s scene-stealer who possesses all of the vanity of \u003cem>30 Rock\u003c/em>‘s Jenna Maroney, but with a bit more heart and warmth. Goldsberry delivers gold anytime she belts out her sentences rather than speaks, which is often; or opines about her celebrity encounters and grand adventures, which is often; or dates a much younger guy, which is brief, but a delight to witness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Girls5eva \u003c/em>will feel familiar in ways both underwhelming and comforting, but the good outweighs the clichèd here. It’s just breezy enough, just sharp enough, and just catchy enough to have you rooting for a comeback.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Girls5eva%27+Is+Just+Catchy+Enough&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1022,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705008418,
"excerpt": "The comedy series about a has-been fictional girl group from the '90s has great, big performances and a lot of nostalgia.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The comedy series about a has-been fictional girl group from the '90s has great, big performances and a lot of nostalgia.",
"title": "Peacock's 'Girls5eva' is Breezy, Sharp and Just Catchy Enough | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Peacock's 'Girls5eva' is Breezy, Sharp and Just Catchy Enough",
"datePublished": "2021-05-06T12:43:40-07:00",
"dateModified": "2024-01-11T13:26:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "peacocks-girls5eva-is-breezy-sharp-and-just-catchy-enough",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=993725841&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 06 May 2021 05:00:21 -0400",
"nprLastModifiedDate": "Thu, 06 May 2021 05:34:56 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/05/06/993725841/girls5eva-is-just-catchy-enough?ft=nprml&f=993725841",
"nprImageAgency": "Peacock",
"nprStoryId": "993725841",
"nprByline": "Aisha Harris",
"sticky": false,
"nprImageCredit": "Heidi Gutman",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 06 May 2021 05:34:00 -0400",
"path": "/arts/13896815/peacocks-girls5eva-is-breezy-sharp-and-just-catchy-enough",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2000, MTV dropped the made-for-TV movie \u003cem>2Gether\u003c/em>, a parody about a fictional boy band of the same name and its rival, Whoa. 2Gether consisted of five members, each cast to fit a very specific type, including “the bad boy” and “the heartthrob.” The not-a-real-boy-band boy band eventually became real enough—or rather, popular enough—to spawn a short-lived TV series spin-off and a second album, \u003cem>2Gether Again\u003c/em>. They even did a stint \u003ca href=\"https://ew.com/article/2000/08/15/2gether-talk-about-touring-britney-spears/\" target=\"_blank\" rel=\"noopener noreferrer\">opening for Britney Spears\u003c/a>.\u003c/p>\n\u003cp>It seems doubtful the ladies of Girls5eva, the fictional late-’90s girl group in the new Peacock series \u003cem>Girls5eva\u003c/em>, will be touring with Olivia Rodrigo anytime soon, but they nevertheless share quite a bit of DNA with 2Gether. Created by Meredith Scardino (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>) and starring Sara Bareilles, Renèe Elise Goldsberry, Busy Philipps, and Paula Pell, the comedy follows the group members as they attempt to stage a comeback and rekindle the magic of their heyday 20 years later. It’s steeped in flashbacks poking fun at the same transparently manufactured bubblegum pop scene as that MTV predecessor, and the bonkers Girls5eva song lyrics are kindred spirits of 2Gether—compare “Gonna be famous five-ever/ ‘Cause for-ever’s too short” to, say, “\u003ca href=\"https://www.youtube.com/watch?v=pMWxnjgvUQM#t=00m50s\" target=\"_blank\" rel=\"noopener noreferrer\">I know my calculus/ It says you + me = us.\u003c/a>”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WlUYv_EtEAg'\n title='//www.youtube.com/embed/WlUYv_EtEAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first of eight episodes kicks off when a young rapper named Lil’ Stinker (Jeremiah Craft) samples an old Girls5eva song and invites the defunct group to perform with him on \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em>. The reunion comes at a time when the four remaining members—we learn that fifth member Ashley (Ashley Park), who appears in flashbacks, died in a freak accident involving an Infinity Pool—are in various states of mid-life crises. Dawn (Bareilles) is feeling unfulfilled working in her brother’s restaurant; Gloria (Paula Pell) is a dentist reeling from divorce; Summer (Philipps) is a brand influencer trapped in a one-sided marriage; and Wickie (Goldsberry) has tried desperately to keep up the façade of a glam diva despite secretly being broke and out of work.\u003c/p>\n\u003cp>At first, \u003cem>Girls5eva \u003c/em>relies too heavily on well-worn fodder; unlike \u003cem>2gether—\u003c/em>and later, \u003cem>Josie and the Pussycats \u003c/em>and \u003cem>Popstar: Never Stop Never Stopping—\u003c/em>this satire is 20 years removed from the music genre it’s parodying, and sometimes, that’s more of a flaw than an asset. If silly bits about 9/11, \u003cem>Total Request Live\u003c/em>, and eccentric Swedish music hitmakers were the only things \u003cem>Girls5eva \u003c/em>served up, the enterprise would seem unnecessary, like a sophomore album arriving two decades too late.\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>Yet as the season carries on and the writers really latch on to the comedic tension between the past and the present, \u003cem>Girls5eva \u003c/em>blossoms into something beyond a blatant tool for nostalgia aimed squarely at millennials and Gen-Xers raised on a diet of Tina Fey and Fey-adjacent humor. (She and her husband/ frequent collaborator Jeff Richmond serve as two of the executive producers, and \u003cem>their \u003c/em>DNA is all over this, too, from the extremely high joke density to the quirky interstitial music to the very New York City-centric observations.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890831",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Fallon \u003c/em>appearance inspires the group to give music another go, but they quickly realize their former manager Larry (Jonathan Hadary) was a controlling, exploitative sleazeball cut from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/08/21/490826928/lou-pearlman-backstreet-boys-nsync-boy-bands-dies-in-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Lou Pearlman\u003c/a> cloth, and they don’t own the rights to any of their old songs. They’re also forced to reflect on the content of those songs—which, the show emphasizes, were written by men—and how they may have helped promote misogynistic ideals. One song we hear a brief snippet of is a sexy anthem about being jailbait.\u003c/p>\n\u003cp>And so they set off on their own to write and record a new song, with the goal of performing it at the iHeartRadio Jingle Ball (because why not?), going viral, and putting Girls5eva back on the map.\u003c/p>\n\u003cp>As the women embark on their quest, it’s easy to hop along for the ride. There’s an oddly specific yet accurate running gag in one episode about boys who grow up as only children in New York City, and it gets more ridiculous with every repeated instance. Much of the soundtrack packs a comedic punch and is convincingly catchy, particularly the theme song, which you will not be able to stop singing if you binge multiple episodes in a row.\u003c/p>\n\u003cp>Between the earworms and an array of pitch-perfect guest stars and cameos including Vanessa Williams and Bowen Yang, the central performances by the Girls5eva actresses are the glue. Each character is calibrated to just the right levels of wacky and sincere, and they play off of one another fluidly, embodying their individual “types”—Dawn as the plucky de facto leader, Summer as the group’s clueless Posh Spice whose only job is to “end songs with a sultry feminasty phrase,” Gloria as the uptight workaholic who is openly gay now but was firmly in the closet during Girls5eva’s peak—while finding notes and beats far surpassing shtick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_96840",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This is especially true of Wickie, the show’s scene-stealer who possesses all of the vanity of \u003cem>30 Rock\u003c/em>‘s Jenna Maroney, but with a bit more heart and warmth. Goldsberry delivers gold anytime she belts out her sentences rather than speaks, which is often; or opines about her celebrity encounters and grand adventures, which is often; or dates a much younger guy, which is brief, but a delight to witness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Girls5eva \u003c/em>will feel familiar in ways both underwhelming and comforting, but the good outweighs the clichèd here. It’s just breezy enough, just sharp enough, and just catchy enough to have you rooting for a comeback.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Girls5eva%27+Is+Just+Catchy+Enough&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896815/peacocks-girls5eva-is-breezy-sharp-and-just-catchy-enough",
"authors": [
"byline_arts_13896815"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_549",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896822",
"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": 444,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1036,
"relation": "eq"
},
"items": [
"arts_13897829",
"arts_13898323",
"arts_13898108",
"arts_13897888",
"arts_13897709",
"arts_13897166",
"arts_13897119",
"arts_13897056",
"arts_13897078",
"arts_13897003",
"arts_13896989",
"arts_13896815"
],
"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_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_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_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_10127": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"found": true
},
"relationships": {},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"link": "/arts/tag/covid-19"
},
"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_10416": {
"type": "terms",
"id": "arts_10416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "shelter in place",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "shelter in place Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10428,
"slug": "shelter-in-place",
"isLoading": false,
"link": "/arts/tag/shelter-in-place"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_14573": {
"type": "terms",
"id": "arts_14573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Greenwood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Greenwood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14585,
"slug": "greenwood",
"isLoading": false,
"link": "/arts/tag/greenwood"
},
"arts_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_11813": {
"type": "terms",
"id": "arts_11813",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11813",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lebron james",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lebron james Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11825,
"slug": "lebron-james",
"isLoading": false,
"link": "/arts/tag/lebron-james"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_11204": {
"type": "terms",
"id": "arts_11204",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11204",
"found": true
},
"relationships": {},
"featImg": null,
"name": "racial justice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "racial justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11216,
"slug": "racial-justice",
"isLoading": false,
"link": "/arts/tag/racial-justice"
},
"arts_14567": {
"type": "terms",
"id": "arts_14567",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14567",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tulsa Race Massacre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tulsa Race Massacre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14579,
"slug": "tulsa-race-massacre",
"isLoading": false,
"link": "/arts/tag/tulsa-race-massacre"
},
"arts_10124": {
"type": "terms",
"id": "arts_10124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10124",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10136,
"slug": "bts",
"isLoading": false,
"link": "/arts/tag/bts"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_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_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"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_8104": {
"type": "terms",
"id": "arts_8104",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8104",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stand up",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stand up Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8116,
"slug": "stand-up",
"isLoading": false,
"link": "/arts/tag/stand-up"
},
"arts_2468": {
"type": "terms",
"id": "arts_2468",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2468",
"found": true
},
"relationships": {},
"featImg": null,
"name": "blindspotting",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "blindspotting Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2480,
"slug": "blindspotting",
"isLoading": false,
"link": "/arts/tag/blindspotting"
},
"arts_2467": {
"type": "terms",
"id": "arts_2467",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2467",
"found": true
},
"relationships": {},
"featImg": null,
"name": "daveed diggs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "daveed diggs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2479,
"slug": "daveed-diggs",
"isLoading": false,
"link": "/arts/tag/daveed-diggs"
},
"arts_5569": {
"type": "terms",
"id": "arts_5569",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5569",
"found": true
},
"relationships": {},
"featImg": null,
"name": "east bay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "east bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5581,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/tag/east-bay"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_5308": {
"type": "terms",
"id": "arts_5308",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5308",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rafael casal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rafael casal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5320,
"slug": "rafael-casal",
"isLoading": false,
"link": "/arts/tag/rafael-casal"
},
"arts_10772": {
"type": "terms",
"id": "arts_10772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10772",
"found": true
},
"relationships": {},
"name": "1950s",
"slug": "1950s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1950s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 10784,
"isLoading": false,
"link": "/arts/tag/1950s"
},
"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_14347": {
"type": "terms",
"id": "arts_14347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Amazon Studios",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Amazon Studios Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14359,
"slug": "amazon-studios",
"isLoading": false,
"link": "/arts/tag/amazon-studios"
},
"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_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_7955": {
"type": "terms",
"id": "arts_7955",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7955",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jim Henson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jim Henson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7967,
"slug": "jim-henson",
"isLoading": false,
"link": "/arts/tag/jim-henson"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
}
},
"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
}
}
