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_13893984": {
"type": "attachments",
"id": "arts_13893984",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893984",
"found": true
},
"parent": 13893976,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-scaled-e1615786674912.jpg",
"width": 1920,
"height": 1283
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-2048x1368.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1368
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-1020x682.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 682
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-1536x1026.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1026
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-1920x1283.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1283
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GettyImages-1307114595-768x513.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 513
}
},
"publishDate": 1615786653,
"modified": 1615786707,
"caption": "Beyoncé and Megan Thee Stallion accept the Best Rap Performance award for 'Savage' onstage during the 63rd Annual GRAMMY Awards at Los Angeles Convention Center.",
"description": "Beyoncé and Megan Thee Stallion accept the Best Rap Performance award for 'Savage' onstage during the 63rd Annual GRAMMY Awards at Los Angeles Convention Center.",
"title": "Beyoncé and Megan Thee Stallion accept the Best Rap Performance award for 'Savage' onstage during the 63rd Annual GRAMMY Awards at Los Angeles Convention Center.",
"credit": "Kevin Winter/Getty Images for The Recording Academy",
"status": "inherit",
"altTag": "Beyoncé and Megan Thee Stallion accept the Best Rap Performance award for 'Savage' onstage during the 63rd Annual GRAMMY Awards at Los Angeles Convention Center.",
"isLoading": false,
"fetchFailed": false
},
"arts_13893962": {
"type": "attachments",
"id": "arts_13893962",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893962",
"found": true
},
"parent": 13893961,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-scaled-e1615590665661.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/2021-03-11_wide-c4e56a4762b725df072b7d541a292a11cd64cbb4-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1615590002,
"modified": 1615590708,
"caption": "James Nesbitt plays an Irish police detective whose investigation into an apparent suicide opens up historical wounds in 'Bloodlands' (streaming on Acorn TV beginning March 15).",
"description": "James Nesbitt plays an Irish police detective whose investigation into an apparent suicide opens up historical wounds in 'Bloodlands' (streaming on Acorn TV beginning March 15).",
"title": "James Nesbitt plays an Irish police detective whose investigation into an apparent suicide opens up historical wounds in 'Bloodlands' (streaming on Acorn TV beginning March 15).",
"credit": "Steffan Hill/HTM Television",
"status": "inherit",
"altTag": "James Nesbitt plays an Irish police detective whose investigation into an apparent suicide opens up historical wounds in 'Bloodlands' (streaming on Acorn TV beginning March 15).",
"isLoading": false,
"fetchFailed": false
},
"arts_13893622": {
"type": "attachments",
"id": "arts_13893622",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893622",
"found": true
},
"parent": 13893614,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-scaled.jpg",
"width": 2560,
"height": 1696
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-2048x1357.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1357
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-1020x676.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 676
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-1536x1018.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1018
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-1920x1272.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1272
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-800x530.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 530
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/mayacuevaheadshot-768x509.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 509
}
},
"publishDate": 1614900295,
"modified": 1614904409,
"caption": "Filmmaker Maya Cueva",
"description": "A black and white headshot of Maya Cueva. She gives us a half smile, is wearing hoop earings and her curly hair is in a bob. She wears a black turtleneck in front of a fence.",
"title": "Filmmaker Maya Cueva",
"credit": "Jasmine Curtis",
"status": "inherit",
"altTag": "A black and white headshot of Maya Cueva. She gives us a half smile, is wearing hoop earings and her curly hair is in a bob. She wears a black turtleneck in front of a fence.",
"isLoading": false,
"fetchFailed": false
},
"arts_13893476": {
"type": "attachments",
"id": "arts_13893476",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893476",
"found": true
},
"parent": 13893475,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b.jpg",
"width": 1834,
"height": 1031
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-1536x863.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 863
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/behindhereyes_limitedseries_episode4_00_33_14_14_wide-b8869336845ad4a3f935a4ddcde72344ffc98c6b-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1614710348,
"modified": 1614710603,
"caption": "Tom Bateman and Eve Hewson play a couple whose marriage is not what it seems in 'Behind Her Eyes.'",
"description": "Tom Bateman and Eve Hewson play a couple whose marriage is not what it seems in 'Behind Her Eyes.'",
"title": "Tom Bateman and Eve Hewson play a couple whose marriage is not what it seems in 'Behind Her Eyes.'",
"credit": "Netflix",
"status": "inherit",
"altTag": "Tom Bateman and Eve Hewson playing a couple whose marriage is not what it seems in 'Behind Her Eyes.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13893447": {
"type": "attachments",
"id": "arts_13893447",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893447",
"found": true
},
"parent": 13893446,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-scaled-e1614594982380.jpg",
"width": 1920,
"height": 1439
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-2048x1535.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1535
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-1536x1151.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1151
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1304623431-2d3862334453f74e933055ead4ecb601345faad2-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1614594331,
"modified": 1614595021,
"caption": "Technical difficulties and an overall uninspired program were the themes of this year's Golden Globes, hosted by Tina Fey and Amy Poehler.",
"description": "Technical difficulties and an overall uninspired program were the themes of this year's Golden Globes, hosted by Tina Fey and Amy Poehler.",
"title": "Technical difficulties and an overall uninspired program were the themes of this year's Golden Globes, hosted by Tina Fey and Amy Poehler.",
"credit": null,
"status": "inherit",
"altTag": "Technical difficulties and an overall uninspired program were the themes of this year's Golden Globes, hosted by Tina Fey and Amy Poehler.",
"isLoading": false,
"fetchFailed": false
},
"arts_13893191": {
"type": "attachments",
"id": "arts_13893191",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893191",
"found": true
},
"parent": 13893190,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/sml101a_0360r2_wide-798515410a15b8d45b4773a8f6d6f2e33a089b10-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1614127583,
"modified": 1614128525,
"caption": "Clark Kent has a tense moment with his son Jordan in the CW's new 'Superman & Lois.'",
"description": "Clark Kent has a tense moment with his son Jordan in the CW's new 'Superman & Lois.'",
"title": "Clark Kent has a tense moment with his son Jordan in the CW's new 'Superman & Lois.'",
"credit": "Dean Buscher/The CW",
"status": "inherit",
"altTag": "Clark Kent has a tense moment with his son Jordan in the CW's new 'Superman & Lois.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13893078": {
"type": "attachments",
"id": "arts_13893078",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13893078",
"found": true
},
"parent": 13893077,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-scaled-e1614024274472.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-1231068191-67ce1952b82151f32f1cfc384a64aad2973e6765-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1614021548,
"modified": 1614024317,
"caption": "Bachelor host Chris Harrison, above right, has temporarily stepped away from the show following controversial remarks involving race. The franchise's current season features Matt James, top left, as the show's first male Black lead.",
"description": "Bachelor host Chris Harrison, above right, has temporarily stepped away from the show following controversial remarks involving race. The franchise's current season features Matt James, top left, as the show's first male Black lead.",
"title": "Bachelor host Chris Harrison, above right, has temporarily stepped away from the show following controversial remarks involving race. The franchise's current season features Matt James, top left, as the show's first male Black lead.",
"credit": "Craig Sjodin/ABC via Getty Images",
"status": "inherit",
"altTag": "Bachelor host Chris Harrison, above right, has temporarily stepped away from the show following controversial remarks involving race. The franchise's current season features Matt James, top left, as the show's first male Black lead.",
"isLoading": false,
"fetchFailed": false
},
"arts_13892871": {
"type": "attachments",
"id": "arts_13892871",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13892871",
"found": true
},
"parent": 13892800,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-160x96.png",
"width": 160,
"mimeType": "image/png",
"height": 96
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM.png",
"width": 2706,
"height": 1622
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-2048x1228.png",
"width": 2048,
"mimeType": "image/png",
"height": 1228
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-1020x611.png",
"width": 1020,
"mimeType": "image/png",
"height": 611
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-1536x921.png",
"width": 1536,
"mimeType": "image/png",
"height": 921
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-1920x1151.png",
"width": 1920,
"mimeType": "image/png",
"height": 1151
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-800x480.png",
"width": 800,
"mimeType": "image/png",
"height": 480
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-17-at-2.38.00-PM-768x460.png",
"width": 768,
"mimeType": "image/png",
"height": 460
}
},
"publishDate": 1613601505,
"modified": 1613682003,
"caption": "Mia Farrow and Woody Allen at home with newborn Ronan (née Satchel) Farrow, and their adopted daughter, Dylan.",
"description": "Mia Farrow and Woody Allen at home with newborn Ronan (née Satchel) Farrow, and their adopted daughter, Dylan.",
"title": "Mia Farrow and Woody Allen at home with newborn Ronan (née Satchel) Farrow, and their adopted daughter, Dylan.",
"credit": "HBO",
"status": "inherit",
"altTag": "Mia Farrow and Woody Allen at home with newborn Ronan (née Satchel) Farrow, and their adopted daughter, Dylan.",
"isLoading": false,
"fetchFailed": false
},
"arts_13892851": {
"type": "attachments",
"id": "arts_13892851",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13892851",
"found": true
},
"parent": 13892850,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4.jpg",
"width": 1776,
"height": 999
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/boy_105_bb_4232-boys-1196_wide-9ede11d9114d20234cb6500c1b2133c0269a45e4-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1613591749,
"modified": 1613592540,
"caption": "'It's a Sin' follows a cast of characters (Omari Douglas, Lydia West, David Carlyle, Callum Scott Howells and Nathaniel Curtis) in London as they deal with the emergence of the AIDS epidemic.",
"description": "'It's a Sin' follows a cast of characters (Omari Douglas, Lydia West, David Carlyle, Callum Scott Howells and Nathaniel Curtis) in London as they deal with the emergence of the AIDS epidemic.",
"title": "'It's a Sin' follows a cast of characters (Omari Douglas, Lydia West, David Carlyle, Callum Scott Howells and Nathaniel Curtis) in London as they deal with the emergence of the AIDS epidemic.",
"credit": null,
"status": "inherit",
"altTag": "'It's a Sin' follows a cast of characters (played by Omari Douglas, Lydia West, David Carlyle, Callum Scott Howells and Nathaniel Curtis) in London as they deal with the emergence of the AIDS epidemic.",
"isLoading": false,
"fetchFailed": false
},
"arts_13892634": {
"type": "attachments",
"id": "arts_13892634",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13892634",
"found": true
},
"parent": 13892633,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026.jpg",
"width": 1376,
"height": 1032
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/gina-carano-star-wars-c274add870dc8e0621384889d73bf4cde997e026-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1613070325,
"modified": 1613070730,
"caption": "Gina Carano is no longer part of the cast of 'The Mandalorian,' with Lucasfilm calling her recent social media posts \"abhorrent.\"",
"description": "Gina Carano is no longer part of the cast of 'The Mandalorian,' with Lucasfilm calling her recent social media posts \"abhorrent.\"",
"title": "Gina Carano is no longer part of the cast of 'The Mandalorian,' with Lucasfilm calling her recent social media posts \"abhorrent.\"",
"credit": "Jean Baptiste Lacroix/Getty Images",
"status": "inherit",
"altTag": "Gina Carano attends the premiere of Disney+'s \"The Mandalorian.\"",
"isLoading": false,
"fetchFailed": false
},
"arts_13892208": {
"type": "attachments",
"id": "arts_13892208",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13892208",
"found": true
},
"parent": 13892207,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/jan22-ep7-d_025-161-1-_wide-67dde0efc427e0c7afb8279dc61552d126615a43-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1612461210,
"modified": 1612461936,
"caption": "Michaela Coel's 'I May Destroy You' was a critical favorite last year—but didn't garner any Golden Globe nominations.",
"description": "Michaela Coel's 'I May Destroy You' was a critical favorite last year—but didn't garner any Golden Globe nominations.",
"title": "Michaela Coel's 'I May Destroy You' was a critical favorite last year—but didn't garner any Golden Globe nominations.",
"credit": "Natalie Seery/HBO",
"status": "inherit",
"altTag": "Michaela Coel, starring in 'I May Destroy You.' The show was a critical favorite last year—but didn't garner any Golden Globe nominations.",
"isLoading": false,
"fetchFailed": false
},
"arts_13825817": {
"type": "attachments",
"id": "arts_13825817",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13825817",
"found": true
},
"parent": 13825816,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe.jpg",
"width": 1918,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/war1080_v004_019896.1062_wide-f9951aa6587af7b55761dc11afb0e9a88a171ffe-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1519767410,
"modified": 1519767578,
"caption": "Florence Kasumba (left), Angela Bassett and Leititia Wright appear in a scene from Marvel's \u003cem>Black Panther\u003c/em>. Sociologist Darnell Hunt says the film's success \"demonstrates what's possible beyond standard Hollywood practices.\"",
"description": "Florence Kasumba (left), Angela Bassett and Leititia Wright appear in a scene from Marvel's \u003cem>Black Panther\u003c/em>. Sociologist Darnell Hunt says the film's success \"demonstrates what's possible beyond standard Hollywood practices.\"",
"title": "Florence Kasumba (left), Angela Bassett and Leititia Wright appear in a scene from Marvel's Black Panther. Sociologist Darnell Hunt says the film's success \"demonstrates what's possible beyond standard Hollywood practices.\"",
"credit": "Marvel Studios",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13893976": {
"type": "authors",
"id": "byline_arts_13893976",
"meta": {
"override": true
},
"slug": "byline_arts_13893976",
"name": "Otis Hart",
"isLoading": false
},
"byline_arts_13893961": {
"type": "authors",
"id": "byline_arts_13893961",
"meta": {
"override": true
},
"slug": "byline_arts_13893961",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13893475": {
"type": "authors",
"id": "byline_arts_13893475",
"meta": {
"override": true
},
"slug": "byline_arts_13893475",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13893446": {
"type": "authors",
"id": "byline_arts_13893446",
"meta": {
"override": true
},
"slug": "byline_arts_13893446",
"name": "Aisha Harris",
"isLoading": false
},
"byline_arts_13893190": {
"type": "authors",
"id": "byline_arts_13893190",
"meta": {
"override": true
},
"slug": "byline_arts_13893190",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13893077": {
"type": "authors",
"id": "byline_arts_13893077",
"meta": {
"override": true
},
"slug": "byline_arts_13893077",
"name": "Kalyani Saxena",
"isLoading": false
},
"byline_arts_13892850": {
"type": "authors",
"id": "byline_arts_13892850",
"meta": {
"override": true
},
"slug": "byline_arts_13892850",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13892633": {
"type": "authors",
"id": "byline_arts_13892633",
"meta": {
"override": true
},
"slug": "byline_arts_13892633",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_13892207": {
"type": "authors",
"id": "byline_arts_13892207",
"meta": {
"override": true
},
"slug": "byline_arts_13892207",
"name": "Eric Deggans",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"mmedina": {
"type": "authors",
"id": "11528",
"meta": {
"index": "authors_1716337520",
"id": "11528",
"found": true
},
"name": "Marisol Medina-Cadena",
"firstName": "Marisol",
"lastName": "Medina-Cadena",
"slug": "mmedina",
"email": "mmedina@KQED.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Producer, Rightnowish Podcast",
"bio": "Marisol Medina-Cadena is a radio reporter and podcast producer. Before working at KQED, she produced for PBS member station, KCET, in Los Angeles. In 2017, Marisol won an Emmy Award for her work on the televised documentary, \u003cem>City Rising\u003c/em>, examining California's affordable housing crisis and the historical roots of gentrification.",
"avatar": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g",
"twitter": "marisolreports",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"edit_others_posts"
]
}
],
"headData": {
"title": "Marisol Medina-Cadena | KQED",
"description": "Producer, Rightnowish Podcast",
"ogImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mmedina"
},
"sgetachew": {
"type": "authors",
"id": "11734",
"meta": {
"index": "authors_1716337520",
"id": "11734",
"found": true
},
"name": "Samuel Getachew",
"firstName": "Samuel",
"lastName": "Getachew",
"slug": "sgetachew",
"email": "sgetachew@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "\u003cspan style=\"font-weight: 400;\">Samuel Getachew is an 18-year-old poet and writer from Oakland, California. He is the 2019 Oakland Youth Poet Laureate, a 2020 Finalist for National Youth Poet Laureate, and a 4-time YoungArts Winner. His writing has been published in Teen Vogue, the New York Times, the Washington Post, and more. He will attend Yale University in the fall of 2021.\u003c/span>",
"avatar": "https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Samuel Getachew | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sgetachew"
}
},
"pagesReducer": {
"arts_category_tv": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"score": 12.673747
},
"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": 41
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 41
}
},
{
"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_13893976": {
"type": "posts",
"id": "arts_13893976",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893976",
"score": null,
"sort": [
1615786145000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1615786145,
"format": "standard",
"title": "Beyoncé Reigns and Billie Eilish Repeats at 2021 Grammy Awards",
"headTitle": "Beyoncé Reigns and Billie Eilish Repeats at 2021 Grammy Awards | KQED",
"content": "\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QG00h0OASmw\u003c/p>\n\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vv-Y1Ejhk4o\u003c/p>\n\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJDZiW_paM\u003c/p>\n\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1284,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705019357,
"excerpt": "This year's Grammy ceremony mixed surprisingly intimate moments with familiar staged bombast.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year's Grammy ceremony mixed surprisingly intimate moments with familiar staged bombast.",
"title": "Beyoncé Reigns and Billie Eilish Repeats at 2021 Grammy Awards | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyoncé Reigns and Billie Eilish Repeats at 2021 Grammy Awards",
"datePublished": "2021-03-14T22:29:05-07:00",
"dateModified": "2024-01-11T16:29:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beyonce-reigns-and-billie-eilish-repeats-at-2021-grammy-awards",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=977289869&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 15 Mar 2021 00:33:00 -0400",
"nprLastModifiedDate": "Mon, 15 Mar 2021 00:51:50 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/03/15/977289869/beyonce-reigns-and-billie-eilish-repeats-at-2021-grammy-awards?ft=nprml&f=977289869",
"nprImageAgency": "Getty Images for The Recording Academy",
"nprStoryId": "977289869",
"nprByline": "Otis Hart",
"sticky": false,
"nprImageCredit": "Kevin Winter",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 15 Mar 2021 00:51:00 -0400",
"path": "/arts/13893976/beyonce-reigns-and-billie-eilish-repeats-at-2021-grammy-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\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/QG00h0OASmw'\n title='//www.youtube.com/embed/QG00h0OASmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\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/vv-Y1Ejhk4o'\n title='//www.youtube.com/embed/vv-Y1Ejhk4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\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/fTJDZiW_paM'\n title='//www.youtube.com/embed/fTJDZiW_paM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\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>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893976/beyonce-reigns-and-billie-eilish-repeats-at-2021-grammy-awards",
"authors": [
"byline_arts_13893976"
],
"categories": [
"arts_1",
"arts_69",
"arts_990"
],
"tags": [
"arts_9943",
"arts_10278",
"arts_1685"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13893984",
"label": "arts_137"
},
"arts_13893961": {
"type": "posts",
"id": "arts_13893961",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893961",
"score": null,
"sort": [
1615590996000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1615590996,
"format": "standard",
"title": "'Bloodlands' Police Thriller Doesn't Trivialize Northern Ireland's Troubles",
"headTitle": "‘Bloodlands’ Police Thriller Doesn’t Trivialize Northern Ireland’s Troubles | KQED",
"content": "\u003cp>I was maybe 12 when I first saw \u003cem>The Third Man\u003c/em>, the noir classic set in a post-World War II Vienna bursting with expressionist atmospherics and jaunty amorality. Ever since, I’ve been drawn to tales set in the wake of historical turmoil. You get juicy stories when individuals—and whole societies—must deal with the guilts, losses and compromises they’d rather not think about. [aside postid='pop_107528']\u003c/p>\n\u003cp>The ghost of violence past haunts \u003cem>Bloodlands\u003c/em>, a new thriller set in a present-day Northern Ireland still struggling to rebuild a sense of normalcy in the aftermath of what’s known as the Troubles. Written by Chris Brandon, this four-part original series from the Acorn TV streaming service was produced by Jed Mercurio, whose hugely popular shows—such as \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bodyguard\u003c/em>\u003c/a> and \u003cem>Line of Duty\u003c/em>—are notorious for having more twists than a rattlesnake farm. \u003cem>Bloodlands\u003c/em> is more restrained, but trust me, it serves up a couple of lethal doozies.\u003c/p>\n\u003cp>Although you can follow the action without knowing the historical backstory, it helps to remember the basics. Starting in the late 1960s, Northern Ireland lived through a de-facto civil war between Catholics and Protestants, and the violence killed many thousands of its citizens. The conflict ran until the \u003ca href=\"https://www.wbur.org/hereandnow/2018/04/10/good-friday-agreement-ireland-george-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">Good Friday Agreement of 1998\u003c/a>, which brought about an uneasy peace in a small, intimate land where nobody was left untouched by bloodshed.\u003c/p>\n\u003cp>\u003cem>Bloodlands\u003c/em> begins 20 years after this truce when a car is fished from Strangford Lough with what seems to be a suicide note in it. Assigned to the case is bottled-up police detective Tom Brannick (James Nesbitt) and his partner Niamh—well-played by the sympathetically offbeat Charlene McKenna. Tom spots a connection between this note and an unsolved case—and not just \u003cem>any\u003c/em> unsolved case. This case, which dates back to the Troubles, involved an assassin nicknamed Goliath, who had ties to the police and who killed several people—including some who were close to Tom.\u003c/p>\n\u003cp>Just as Tom and Niamh begin reopening the Goliath case, they’re ordered to stop by Tom’s old friend—and police higher-up—Jackie Twomey, who’s come down from Belfast to take charge of things. Played by Lorcan Cranitch—an actor who could give seminars on seeming slippery—Jackie worries that digging into the past might shatter the precarious peace. Predictably, this doesn’t slow down Tom, who’s obsessed with burying Goliath once and for all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiHCX98D46U\u003c/p>\n\u003cp>If \u003cem>Bloodlands\u003c/em> initially strikes you as being a tad ponderous and formulaic, do stick around. The action starts to clip along, with nifty cinematography and deft use of the locations around the lovely Strangford Lough. Though I’m no great fan of Nesbitt, who invariably overdoes the clench-faced masculinity bit, the rest of the cast is strong, be it Peter Ballance as an IRA thug turned businessman or Lisa Dwan as a doctor who teaches Tom’s beloved daughter at medical school—and who seems to fancy Tom.\u003c/p>\n\u003cp>Now, there are two big ways that today’s crime dramas tend to go badly wrong. In an attempt to keep our adrenaline pumping, they often hit you with so many twists that the plot starts feeling arbitrary and meaningless. While \u003cem>Bloodlands\u003c/em> does have a few thriller-ish implausibilities, Brandon takes care to lay the groundwork for his big surprises, and he keeps them rooted in our sense of the characters and their world. The story builds to a finale that feels apt and emotionally satisfying. [aside postid='arts_13881516']\u003c/p>\n\u003cp>This is because \u003cem>Bloodlands\u003c/em> avoids the other big mistake, which is a moral one—that of trivializing historical tragedy. At first, I feared that Brandon was exploiting Northern Ireland’s tortured past simply to create a moody backdrop for a routine cop show. But I was wrong. While the series doesn’t rival the best recent looks at Northern Ireland—Anna Burns’ brilliant novel \u003ca href=\"https://www.npr.org/2018/12/04/672956730/brutally-intelligent-milkman-depicts-lives-cramped-by-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Milkman\u003c/em> \u003c/a>and Patrick Radden Keefe’s true crime masterpiece \u003ca href=\"https://www.npr.org/2019/03/04/698552913/say-nothing-murder-memory-and-a-masterful-history-of-the-troubles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Say Nothing\u003c/em>\u003c/a>—it does have something on its mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end, we see that \u003cem>Bloodlands\u003c/em> isn’t merely unfolding a crime story. It’s offering a metaphor for the troubled soul of Northern Ireland two decades after the Troubles supposedly ended. And its characters learn a hard truth we’ve been learning here in America, too: You can bury the past as deep as you want, but when you get home, its ghost is there waiting for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Bloodlands%27+Police+Thriller+Doesn%27t+Trivialize+Northern+Ireland%27s+Troubles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 792,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705019358,
"excerpt": "This four-part series isn't merely unfolding a crime story—it offers a metaphor for the troubled soul of Northern Ireland.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This four-part series isn't merely unfolding a crime story—it offers a metaphor for the troubled soul of Northern Ireland.",
"title": "'Bloodlands' Police Thriller Doesn't Trivialize Northern Ireland's Troubles | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Bloodlands' Police Thriller Doesn't Trivialize Northern Ireland's Troubles",
"datePublished": "2021-03-12T15:16:36-08:00",
"dateModified": "2024-01-11T16:29:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bloodlands-police-thriller-doesnt-trivialize-northern-irelands-troubles",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=976047699&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 12 Mar 2021 10:00:46 -0500",
"nprLastModifiedDate": "Fri, 12 Mar 2021 10:12:07 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/03/12/976047699/bloodlands-police-thriller-doesnt-trivialize-northern-irelands-troubles?ft=nprml&f=976047699",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210312_fa_02.mp3?orgId=427869011&topicId=1163&d=358&p=13&story=976047699&ft=nprml&f=976047699",
"nprImageAgency": "HTM Television",
"nprAudioM3u": "http://api.npr.org/m3u/1976512668-c98cf0.m3u?orgId=427869011&topicId=1163&d=358&p=13&story=976047699&ft=nprml&f=976047699",
"nprStoryId": "976047699",
"nprByline": "John Powers",
"sticky": false,
"nprImageCredit": "Steffan Hill",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 12 Mar 2021 13:36:00 -0500",
"path": "/arts/13893961/bloodlands-police-thriller-doesnt-trivialize-northern-irelands-troubles",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210312_fa_02.mp3?orgId=427869011&topicId=1163&d=358&p=13&story=976047699&ft=nprml&f=976047699",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was maybe 12 when I first saw \u003cem>The Third Man\u003c/em>, the noir classic set in a post-World War II Vienna bursting with expressionist atmospherics and jaunty amorality. Ever since, I’ve been drawn to tales set in the wake of historical turmoil. You get juicy stories when individuals—and whole societies—must deal with the guilts, losses and compromises they’d rather not think about. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_107528",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ghost of violence past haunts \u003cem>Bloodlands\u003c/em>, a new thriller set in a present-day Northern Ireland still struggling to rebuild a sense of normalcy in the aftermath of what’s known as the Troubles. Written by Chris Brandon, this four-part original series from the Acorn TV streaming service was produced by Jed Mercurio, whose hugely popular shows—such as \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bodyguard\u003c/em>\u003c/a> and \u003cem>Line of Duty\u003c/em>—are notorious for having more twists than a rattlesnake farm. \u003cem>Bloodlands\u003c/em> is more restrained, but trust me, it serves up a couple of lethal doozies.\u003c/p>\n\u003cp>Although you can follow the action without knowing the historical backstory, it helps to remember the basics. Starting in the late 1960s, Northern Ireland lived through a de-facto civil war between Catholics and Protestants, and the violence killed many thousands of its citizens. The conflict ran until the \u003ca href=\"https://www.wbur.org/hereandnow/2018/04/10/good-friday-agreement-ireland-george-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">Good Friday Agreement of 1998\u003c/a>, which brought about an uneasy peace in a small, intimate land where nobody was left untouched by bloodshed.\u003c/p>\n\u003cp>\u003cem>Bloodlands\u003c/em> begins 20 years after this truce when a car is fished from Strangford Lough with what seems to be a suicide note in it. Assigned to the case is bottled-up police detective Tom Brannick (James Nesbitt) and his partner Niamh—well-played by the sympathetically offbeat Charlene McKenna. Tom spots a connection between this note and an unsolved case—and not just \u003cem>any\u003c/em> unsolved case. This case, which dates back to the Troubles, involved an assassin nicknamed Goliath, who had ties to the police and who killed several people—including some who were close to Tom.\u003c/p>\n\u003cp>Just as Tom and Niamh begin reopening the Goliath case, they’re ordered to stop by Tom’s old friend—and police higher-up—Jackie Twomey, who’s come down from Belfast to take charge of things. Played by Lorcan Cranitch—an actor who could give seminars on seeming slippery—Jackie worries that digging into the past might shatter the precarious peace. Predictably, this doesn’t slow down Tom, who’s obsessed with burying Goliath once and for all.\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/jiHCX98D46U'\n title='//www.youtube.com/embed/jiHCX98D46U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Bloodlands\u003c/em> initially strikes you as being a tad ponderous and formulaic, do stick around. The action starts to clip along, with nifty cinematography and deft use of the locations around the lovely Strangford Lough. Though I’m no great fan of Nesbitt, who invariably overdoes the clench-faced masculinity bit, the rest of the cast is strong, be it Peter Ballance as an IRA thug turned businessman or Lisa Dwan as a doctor who teaches Tom’s beloved daughter at medical school—and who seems to fancy Tom.\u003c/p>\n\u003cp>Now, there are two big ways that today’s crime dramas tend to go badly wrong. In an attempt to keep our adrenaline pumping, they often hit you with so many twists that the plot starts feeling arbitrary and meaningless. While \u003cem>Bloodlands\u003c/em> does have a few thriller-ish implausibilities, Brandon takes care to lay the groundwork for his big surprises, and he keeps them rooted in our sense of the characters and their world. The story builds to a finale that feels apt and emotionally satisfying. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13881516",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is because \u003cem>Bloodlands\u003c/em> avoids the other big mistake, which is a moral one—that of trivializing historical tragedy. At first, I feared that Brandon was exploiting Northern Ireland’s tortured past simply to create a moody backdrop for a routine cop show. But I was wrong. While the series doesn’t rival the best recent looks at Northern Ireland—Anna Burns’ brilliant novel \u003ca href=\"https://www.npr.org/2018/12/04/672956730/brutally-intelligent-milkman-depicts-lives-cramped-by-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Milkman\u003c/em> \u003c/a>and Patrick Radden Keefe’s true crime masterpiece \u003ca href=\"https://www.npr.org/2019/03/04/698552913/say-nothing-murder-memory-and-a-masterful-history-of-the-troubles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Say Nothing\u003c/em>\u003c/a>—it does have something on its mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end, we see that \u003cem>Bloodlands\u003c/em> isn’t merely unfolding a crime story. It’s offering a metaphor for the troubled soul of Northern Ireland two decades after the Troubles supposedly ended. And its characters learn a hard truth we’ve been learning here in America, too: You can bury the past as deep as you want, but when you get home, its ghost is there waiting for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Bloodlands%27+Police+Thriller+Doesn%27t+Trivialize+Northern+Ireland%27s+Troubles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893961/bloodlands-police-thriller-doesnt-trivialize-northern-irelands-troubles",
"authors": [
"byline_arts_13893961"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_13193"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13893962",
"label": "arts_137"
},
"arts_13893614": {
"type": "posts",
"id": "arts_13893614",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893614",
"score": null,
"sort": [
1614942049000
]
},
"guestAuthors": [],
"slug": "reel-talk-maya-cuevas-films-on-reproductive-rights-and-immigration",
"title": "Reel Talk: Maya Cueva's Films on Reproductive Rights and Immigration",
"publishDate": 1614942049,
"format": "standard",
"headTitle": "Reel Talk: Maya Cueva’s Films on Reproductive Rights and Immigration | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Maya Cueva makes documentary films that often sit at the intersection of immigration, reproductive justice and xenophobia.",
"status": "publish",
"parent": 0,
"modified": 1729111944,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1167
},
"headData": {
"title": "Reel Talk: Maya Cueva's Films on Reproductive Rights and Immigration | KQED",
"description": "Maya Cueva makes documentary films that often sit at the intersection of immigration, reproductive justice and xenophobia.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Reel Talk: Maya Cueva's Films on Reproductive Rights and Immigration",
"datePublished": "2021-03-05T03:00:49-08:00",
"dateModified": "2024-10-16T13:52:24-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Rightnowish",
"sourceUrl": "https://www.kqed.org/podcasts/rightnowish",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC5796405705.mp3?updated=1614910219",
"sticky": false,
"excludeFromSiteSearch": "Include",
"path": "/arts/13893614/reel-talk-maya-cuevas-films-on-reproductive-rights-and-immigration",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893614/reel-talk-maya-cuevas-films-on-reproductive-rights-and-immigration",
"authors": [
"11491",
"11528"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_22352",
"arts_74",
"arts_21759",
"arts_990"
],
"tags": [
"arts_13672",
"arts_1118",
"arts_977",
"arts_1773",
"arts_13671",
"arts_6764"
],
"featImg": "arts_13893622",
"label": "source_arts_13893614"
},
"arts_13893475": {
"type": "posts",
"id": "arts_13893475",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893475",
"score": null,
"sort": [
1614711013000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1614711013,
"format": "standard",
"title": "With All the Twists and Turns 'Behind Her Eyes,' You'll Want to Watch it Twice",
"headTitle": "With All the Twists and Turns ‘Behind Her Eyes,’ You’ll Want to Watch it Twice | KQED",
"content": "\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c4LtoWQaLxk\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 602,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705019407,
"excerpt": "Netflix's new six-part miniseries starts out as a romantic drama, but quickly spins into something entirely unexpected.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Netflix's new six-part miniseries starts out as a romantic drama, but quickly spins into something entirely unexpected.",
"title": "With All the Twists and Turns 'Behind Her Eyes,' You'll Want to Watch it Twice | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "With All the Twists and Turns 'Behind Her Eyes,' You'll Want to Watch it Twice",
"datePublished": "2021-03-02T10:50:13-08:00",
"dateModified": "2024-01-11T16:30:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "with-all-the-twists-and-turns-behind-her-eyes-youll-want-to-watch-it-twice",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=972816423&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 02 Mar 2021 12:32:21 -0500",
"nprLastModifiedDate": "Tue, 02 Mar 2021 12:32:38 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/03/02/972816423/with-all-the-twists-and-turns-behind-her-eyes-youll-want-to-watch-it-twice?ft=nprml&f=972816423",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210302_fa_02.mp3?orgId=427869011&topicId=1163&d=416&p=13&story=972816423&ft=nprml&f=972816423",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1972895051-1fb571.m3u?orgId=427869011&topicId=1163&d=416&p=13&story=972816423&ft=nprml&f=972816423",
"nprStoryId": "972816423",
"nprByline": "David Bianculli",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 02 Mar 2021 13:31:00 -0500",
"path": "/arts/13893475/with-all-the-twists-and-turns-behind-her-eyes-youll-want-to-watch-it-twice",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210302_fa_02.mp3?orgId=427869011&topicId=1163&d=416&p=13&story=972816423&ft=nprml&f=972816423",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\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 nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\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/c4LtoWQaLxk'\n title='//www.youtube.com/embed/c4LtoWQaLxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893475/with-all-the-twists-and-turns-behind-her-eyes-youll-want-to-watch-it-twice",
"authors": [
"byline_arts_13893475"
],
"categories": [
"arts_1",
"arts_73",
"arts_990"
],
"tags": [
"arts_3324"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13893476",
"label": "arts_137"
},
"arts_13893446": {
"type": "posts",
"id": "arts_13893446",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893446",
"score": null,
"sort": [
1614595569000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1614595569,
"format": "standard",
"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
"headTitle": "Not Even Amy Poehler and Tina Fey Could Save This Year’s Snoozy Golden Globes | KQED",
"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1063,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705019412,
"excerpt": "Technical difficulties made things awkward at Sunday night's virtual event. Thank goodness for Catherine O'Hara and Daniel Kaluuya.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Technical difficulties made things awkward at Sunday night's virtual event. Thank goodness for Catherine O'Hara and Daniel Kaluuya.",
"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
"datePublished": "2021-03-01T02:46:09-08:00",
"dateModified": "2024-01-11T16:30:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "not-even-amy-poehler-and-tina-fey-could-save-this-years-snoozy-golden-globes",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=972386301&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 28 Feb 2021 23:58:00 -0500",
"nprLastModifiedDate": "Mon, 01 Mar 2021 00:06:44 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/28/972386301/nomadland-and-chadwick-boseman-win-big-during-a-mostly-snoozy-golden-globes?ft=nprml&f=972386301",
"nprImageAgency": "Getty Images for Hollywood Foreign Press Association",
"nprStoryId": "972386301",
"nprByline": "Aisha Harris",
"sticky": false,
"nprImageCredit": "Kevin Mazur",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 01 Mar 2021 00:06:00 -0500",
"path": "/arts/13893446/not-even-amy-poehler-and-tina-fey-could-save-this-years-snoozy-golden-globes",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\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/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\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>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893446/not-even-amy-poehler-and-tina-fey-could-save-this-years-snoozy-golden-globes",
"authors": [
"byline_arts_13893446"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_11327",
"arts_549",
"arts_10278",
"arts_977",
"arts_12322",
"arts_6174",
"arts_2388",
"arts_13605"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13893447",
"label": "arts_137"
},
"arts_13893190": {
"type": "posts",
"id": "arts_13893190",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893190",
"score": null,
"sort": [
1614128702000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1614128702,
"format": "standard",
"title": "In 'Superman & Lois,' The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood",
"headTitle": "In ‘Superman & Lois,’ The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood | KQED",
"content": "\u003cp>For comic book fans like me, Superman is the ultimate superhero—able to leap tall buildings in a single bound and stop a nuclear reactor from exploding by dumping a huge, melting block of ice on top of it.\u003c/p>\n\u003cp>But on The CW’s new series \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em>, our hero’s alter ego Clark Kent is no match for his mopey teenage son, Jordan, struggling with social anxiety disorder and angry that his dad always seems to be elsewhere, chasing a story for \u003cem data-stringify-type=\"italic\">The Daily Planet\u003c/em>. [aside postid='pop_4778']\u003c/p>\n\u003cp>In one exchange, Jordan is playing a video game as a character who is beating up Superman—talk about repressed, unconscious rage—when Clark tries to apologize for missing yet another therapy appointment.\u003c/p>\n\u003cp>“High school starts tomorrow,” Clark says, trying to commiserate. “I know freshman year was pretty tough for me. Did I ever tell you about the time I was the team manager of the football …?”\u003c/p>\n\u003cp>“Yeah, everyone duct taped you to a tractor,” Jordan sniffs. “Life’s a little different in Smallville than it is in Metropolis.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ouch. Felled by Rude Teenager Syndrome.\u003c/p>\n\u003cp>This update of the Superman legend features characters from The CW’s superhero universe of shows spun off from \u003cem data-stringify-type=\"italic\">Arrow—\u003c/em>like \u003cem data-stringify-type=\"italic\">The Flash\u003c/em> and \u003cem data-stringify-type=\"italic\">Supergirl\u003c/em>—called the “Arrowverse” in fanspeak. Here, Clark is married to Lois Lane and has twin teenage sons, named Jordan and Jonathan.\u003c/p>\n\u003cp>But the kids don’t know their dad is the world’s most powerful superhero. And even though Lois thinks fessing up may help Jordan with his anxiety issues, Clark doesn’t want to tell them—a position echoed by Lois’ dad, hard-charging Army general Sam Lane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7xKLq97H-5A\u003c/p>\n\u003cp>To some Superman fans, this may sound like a trap worthy of Lex Luthor; the most legendary superhero in comics stuck with an overbearing father-in-law and a son who embodies every bratty teenager trope on television.\u003c/p>\n\u003cp>But \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> actually weaves a compelling story from the efforts of the character to balance his responsibility to the world with the time and attention he owes his family.\u003c/p>\n\u003cp>Many years ago, I read a quote from a science fiction writer who said that watching a superhuman man confront a problem is boring; he’s going to win. But watching a regular man confront a superhuman problem is where great drama lies.\u003c/p>\n\u003cp>\u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> has it both ways—contrasting Superman’s struggle to beat a surprisingly powerful mystery villain with Clark Kent’s effort to connect with his family and handle a series of surprising losses.\u003c/p>\n\u003cp>After one such challenge—I won’t spoil exactly what—Superman prepares to fly off, once again, to catch the guy who is sabotaging nuclear power plants. Lois puts her foot down and tells him to stay for his family, only to get a lecture from Sam Lane.\u003c/p>\n\u003cp>“When you wanted to get married … I tried warning you,” says Lane, played with appropriate gruffness by \u003cem data-stringify-type=\"italic\">Nip/Tuck\u003c/em> alum Dylan Walsh. “You may have fallen in love with Clark Kent, but you married Superman. And Superman doesn’t get to have a normal life, no matter how much you want one for him.”\u003c/p>\n\u003cp>Okay, it sounds a little soap opera-ish. But The CW and executive producer Greg Berlanti have excelled in bringing characters from the DC Comics universe to TV by playing up their humanity through family drama and focusing a little less on how well they punch out bad guys.\u003c/p>\n\u003cp>That doesn’t mean they don’t make Superman look supercool in this series. In the show’s two-hour pilot, producers do an amazing job of depicting Superman’s powers, with special effects worthy of any big budget movie. [aside postid='pop_101544']\u003c/p>\n\u003cp>The show snatches bits of inspiration from several iterations of the character, from Zack Snyder’s \u003cem data-stringify-type=\"italic\">Man of Steel\u003c/em> to Bryan Singer’s \u003cem data-stringify-type=\"italic\">Superman Returns\u003c/em> and, of course, Christopher Reeve’s classic performance in Richard Donner’s 1978 film, \u003cem data-stringify-type=\"italic\">Superman\u003c/em>.\u003c/p>\n\u003cp>Tyler Hoechlin is particularly impressive as Clark/Superman, nailing the physicality of the Man of Steel while showing a geeky, good-humored appeal as Clark Kent. But the show’s writers will have to be careful about making sure Elizabeth Tulloch’s Lois Lane is more than the smart alecky wife who keeps spoiling Superman’s fun when he wants to go take on the bad guy.\u003c/p>\n\u003cp>Hoechlin and Tulloch have an easy chemistry honed by years of playing these characters on The CW’s other superhero shows; a little reminiscent of Dean Cain and Teri Hatcher on the mid-1990s series \u003cem data-stringify-type=\"italic\">Lois and Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>It’s tough to detail more about the plot without revealing key spoilers. But enough characters show up from the Superman universe that I’m eager to see the next episode—where learning to get along with his kids may be even more challenging for our hero than outracing a speeding bullet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio and adapted for the Web by 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=In+%27Superman+%26+Lois%2C%27+The+Man+Of+Steel+Faces+His+Biggest+Challenge+Yet%3A+Fatherhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 907,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705019435,
"excerpt": "A new TV series brings Superman (and Lois) back to the small screen—with a twist. This time, they're small-town parents.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new TV series brings Superman (and Lois) back to the small screen—with a twist. This time, they're small-town parents.",
"title": "In 'Superman & Lois,' The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Superman & Lois,' The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood",
"datePublished": "2021-02-23T17:05:02-08:00",
"dateModified": "2024-01-11T16:30:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-superman-lois-the-man-of-steel-faces-his-biggest-challenge-yet-fatherhood",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=969068962&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 23 Feb 2021 16:14:00 -0500",
"nprLastModifiedDate": "Tue, 23 Feb 2021 16:51:33 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/23/969068962/in-superman-lois-the-man-of-steel-faces-his-biggest-challenge-yet-fatherhood?ft=nprml&f=969068962",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/02/20210223_atc_in_superman_lois_the_man_of_steel_faces_his_biggest_challenge_yet_fatherhood.mp3?orgId=1&topicId=1163&d=215&p=2&story=969068962&ft=nprml&f=969068962",
"nprImageAgency": "The CW",
"nprAudioM3u": "http://api.npr.org/m3u/1970672348-77cb92.m3u?orgId=1&topicId=1163&d=215&p=2&story=969068962&ft=nprml&f=969068962",
"nprStoryId": "969068962",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Dean Buscher",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 23 Feb 2021 17:06:00 -0500",
"path": "/arts/13893190/in-superman-lois-the-man-of-steel-faces-his-biggest-challenge-yet-fatherhood",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/02/20210223_atc_in_superman_lois_the_man_of_steel_faces_his_biggest_challenge_yet_fatherhood.mp3?orgId=1&topicId=1163&d=215&p=2&story=969068962&ft=nprml&f=969068962",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For comic book fans like me, Superman is the ultimate superhero—able to leap tall buildings in a single bound and stop a nuclear reactor from exploding by dumping a huge, melting block of ice on top of it.\u003c/p>\n\u003cp>But on The CW’s new series \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em>, our hero’s alter ego Clark Kent is no match for his mopey teenage son, Jordan, struggling with social anxiety disorder and angry that his dad always seems to be elsewhere, chasing a story for \u003cem data-stringify-type=\"italic\">The Daily Planet\u003c/em>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_4778",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one exchange, Jordan is playing a video game as a character who is beating up Superman—talk about repressed, unconscious rage—when Clark tries to apologize for missing yet another therapy appointment.\u003c/p>\n\u003cp>“High school starts tomorrow,” Clark says, trying to commiserate. “I know freshman year was pretty tough for me. Did I ever tell you about the time I was the team manager of the football …?”\u003c/p>\n\u003cp>“Yeah, everyone duct taped you to a tractor,” Jordan sniffs. “Life’s a little different in Smallville than it is in Metropolis.”\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>Ouch. Felled by Rude Teenager Syndrome.\u003c/p>\n\u003cp>This update of the Superman legend features characters from The CW’s superhero universe of shows spun off from \u003cem data-stringify-type=\"italic\">Arrow—\u003c/em>like \u003cem data-stringify-type=\"italic\">The Flash\u003c/em> and \u003cem data-stringify-type=\"italic\">Supergirl\u003c/em>—called the “Arrowverse” in fanspeak. Here, Clark is married to Lois Lane and has twin teenage sons, named Jordan and Jonathan.\u003c/p>\n\u003cp>But the kids don’t know their dad is the world’s most powerful superhero. And even though Lois thinks fessing up may help Jordan with his anxiety issues, Clark doesn’t want to tell them—a position echoed by Lois’ dad, hard-charging Army general Sam Lane.\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/7xKLq97H-5A'\n title='//www.youtube.com/embed/7xKLq97H-5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To some Superman fans, this may sound like a trap worthy of Lex Luthor; the most legendary superhero in comics stuck with an overbearing father-in-law and a son who embodies every bratty teenager trope on television.\u003c/p>\n\u003cp>But \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> actually weaves a compelling story from the efforts of the character to balance his responsibility to the world with the time and attention he owes his family.\u003c/p>\n\u003cp>Many years ago, I read a quote from a science fiction writer who said that watching a superhuman man confront a problem is boring; he’s going to win. But watching a regular man confront a superhuman problem is where great drama lies.\u003c/p>\n\u003cp>\u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> has it both ways—contrasting Superman’s struggle to beat a surprisingly powerful mystery villain with Clark Kent’s effort to connect with his family and handle a series of surprising losses.\u003c/p>\n\u003cp>After one such challenge—I won’t spoil exactly what—Superman prepares to fly off, once again, to catch the guy who is sabotaging nuclear power plants. Lois puts her foot down and tells him to stay for his family, only to get a lecture from Sam Lane.\u003c/p>\n\u003cp>“When you wanted to get married … I tried warning you,” says Lane, played with appropriate gruffness by \u003cem data-stringify-type=\"italic\">Nip/Tuck\u003c/em> alum Dylan Walsh. “You may have fallen in love with Clark Kent, but you married Superman. And Superman doesn’t get to have a normal life, no matter how much you want one for him.”\u003c/p>\n\u003cp>Okay, it sounds a little soap opera-ish. But The CW and executive producer Greg Berlanti have excelled in bringing characters from the DC Comics universe to TV by playing up their humanity through family drama and focusing a little less on how well they punch out bad guys.\u003c/p>\n\u003cp>That doesn’t mean they don’t make Superman look supercool in this series. In the show’s two-hour pilot, producers do an amazing job of depicting Superman’s powers, with special effects worthy of any big budget movie. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_101544",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show snatches bits of inspiration from several iterations of the character, from Zack Snyder’s \u003cem data-stringify-type=\"italic\">Man of Steel\u003c/em> to Bryan Singer’s \u003cem data-stringify-type=\"italic\">Superman Returns\u003c/em> and, of course, Christopher Reeve’s classic performance in Richard Donner’s 1978 film, \u003cem data-stringify-type=\"italic\">Superman\u003c/em>.\u003c/p>\n\u003cp>Tyler Hoechlin is particularly impressive as Clark/Superman, nailing the physicality of the Man of Steel while showing a geeky, good-humored appeal as Clark Kent. But the show’s writers will have to be careful about making sure Elizabeth Tulloch’s Lois Lane is more than the smart alecky wife who keeps spoiling Superman’s fun when he wants to go take on the bad guy.\u003c/p>\n\u003cp>Hoechlin and Tulloch have an easy chemistry honed by years of playing these characters on The CW’s other superhero shows; a little reminiscent of Dean Cain and Teri Hatcher on the mid-1990s series \u003cem data-stringify-type=\"italic\">Lois and Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>It’s tough to detail more about the plot without revealing key spoilers. But enough characters show up from the Superman universe that I’m eager to see the next episode—where learning to get along with his kids may be even more challenging for our hero than outracing a speeding bullet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio and adapted for the Web by 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=In+%27Superman+%26+Lois%2C%27+The+Man+Of+Steel+Faces+His+Biggest+Challenge+Yet%3A+Fatherhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893190/in-superman-lois-the-man-of-steel-faces-his-biggest-challenge-yet-fatherhood",
"authors": [
"byline_arts_13893190"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13893191",
"label": "arts_137"
},
"arts_13893077": {
"type": "posts",
"id": "arts_13893077",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13893077",
"score": null,
"sort": [
1614024582000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1614024582,
"format": "standard",
"title": "In a Season Highlighting Diversity, 'The Bachelor' Lands in Controversy Around Race",
"headTitle": "In a Season Highlighting Diversity, ‘The Bachelor’ Lands in Controversy Around Race | KQED",
"content": "\u003cp>Controversy has once again come to \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>For almost 20 years, the franchise’s producers have churned out love stories at a nearly break-neck pace on the show and its spinoffs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise\u003c/em>. The franchise’s record on diversity, however, has been notably slow. In 2012, two Black men who had auditioned for the show \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">filed an unsuccessful class-action lawsuit\u003c/a> against it for racial discrimination. It took 15 years for the franchise to announce a Black lead, Bachelorette Rachel Lindsay in 2017.\u003c/p>\n\u003cp>Fans and contestants alike hoped that the casting of Matt James last year as the first black man to star in \u003cem>The Bachelor \u003c/em>would represent a shift for the show. However, despite starting this season with the most diverse cast in the franchise’s history, the show is again facing criticism around race. [aside postid='pop_27797']\u003c/p>\n\u003cp>Earlier this month, photos emerged of contestant Rachael Kirkconnell wearing an antebellum-style plantation dress at an “Old-South” party in 2018. Other photos allegedly show her wearing Native American clothing as a costume.\u003c/p>\n\u003cp>Kirckconnell issued \u003ca href=\"https://www.instagram.com/p/CLK5YDHHDQT/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a>, saying “my ignorance was racist,” but the controversy was further exacerbated when host Chris Harrison sat down with Lindsay for an interview with \u003cem>Extra\u003c/em>. During the interview, Harrison condemned the “woke police” and defended Kirkconnell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These girls got dressed up and went to a party and had a great time; they were 18 years old. Now, does that make it okay? I don’t know, Rachael, you tell me,” Harrison said. His remarks were met with condemnation from many former contestants. He has since apologized and \u003ca href=\"https://www.instagram.com/p/CLPmjrFgEv8/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that he will temporarily be stepping away from the show.\u003c/p>\n\u003cp>To Brandy Monk-Payton, a media and Black cultural studies scholar at Fordham University, the show’s most recent controversy is anything but surprising.\u003c/p>\n\u003cp>“The franchise has been critiqued at the level of diversity, equity and inclusion for at least a decade,” she tells Michel Martin in \u003ca href=\"https://www.npr.org/2021/02/20/969800203/racism-controversy-rocks-bachelor-nation\" target=\"_blank\" rel=\"noopener noreferrer\">an interview on \u003cem>All Things Considered\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>According to Monk-Payton—who previously wrote about Lindsay’s role as the first Black \u003cem>Bachelorette—\u003c/em>the franchise’s problem with diversity is tied to a reluctance to make substantial production changes.\u003c/p>\n\u003cp>“I think that the franchise in general courts diversity. It goes to great lengths to promote itself as being more inclusive and equitable. They hire consultants, for example, but it does not fundamentally commit to a kind of long standing change in front of and behind the camera,” she says.\u003c/p>\n\u003cp>When asked about diversity on \u003cem>The Bachelor \u003c/em>in 2011, series creator Mike Fleiss\u003ca href=\"https://ew.com/article/2011/03/15/the-bachelor-creator-ashley-h/\" target=\"_blank\" rel=\"noopener noreferrer\"> said \u003c/a>in an interview with \u003cem>Entertainment Weekly \u003c/em>that people of color simply didn’t audition for the show.\u003c/p>\n\u003cp>“We really tried, but sometimes we feel guilty of tokenism. Oh, we have to wedge African-American chicks in there! We always want to cast for ethnic diversity, it’s just that for whatever reason, they don’t come forward. I wish they would,” Fleiss said.\u003c/p>\n\u003cp>Monk-Payton argues that the franchise’s penchant for drama helps lay the groundwork for continuous controversy. [aside postid='pop_104953']\u003c/p>\n\u003cp>“I also think that there is a little bit of a sense that there will be controversial characters and these cast members will express themselves or have behavior that will be on camera. And you can get a money shot. Like you can get, you know, a sort of dramatic scene. You can get a reveal or an exposure that is highly lucrative for the entire franchise in terms of audience attention,” she says.\u003c/p>\n\u003cp>On the question of whether the show exploits stereotypes, Monk-Payton believes that \u003cem>The\u003c/em> \u003cem>Bachelor\u003c/em>‘s traditional goal of engagement inhibits its ability to challenge negative attitudes or views.\u003c/p>\n\u003cp>“I want to put it into the context of it being a reality show. It attempts to have claims on certain forms of authenticity and truth that other fictional shows don’t. And so I think that it has tried to critique various stereotypical ideas around Black womanhood, femininity and masculinity. But there’s a way in which when it’s placed in this very conventional, traditional, hetero-normative idea of marriage, that it becomes incredibly hard to get out of those frameworks that are really constricting.” she says.\u003c/p>\n\u003cp>Monk-Payton, like many fans of color, has watched the show for years, despite the fact that she doesn’t see herself represented in its content. But she knows why she’ll continue to tune in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, as a Black woman who considers herself to be part of \u003cem>The Bachelor\u003c/em> Nation fandom, I’ve actually always had an ambivalent relationship to the franchise and its overwhelming whiteness. It is historically never spoken to me in terms of its representation of romance. And not only that, but also who gets to be an object of desire. And there is still something, however contrived, about the kind of fantasy of being romanced in a spectacular way that allures and also endures.”\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=In+A+Season+Highlighting+Diversity%2C+%27The+Bachelor%27+Lands+In+Controversy+Around+Race&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 874,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705019444,
"excerpt": "Brandy Monk-Payton, a media and Black cultural studies scholar, talks about the ABC franchise and its record on race.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Brandy Monk-Payton, a media and Black cultural studies scholar, talks about the ABC franchise and its record on race.",
"title": "In a Season Highlighting Diversity, 'The Bachelor' Lands in Controversy Around Race | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In a Season Highlighting Diversity, 'The Bachelor' Lands in Controversy Around Race",
"datePublished": "2021-02-22T12:09:42-08:00",
"dateModified": "2024-01-11T16:30:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=969943721&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 21 Feb 2021 14:36:56 -0500",
"nprLastModifiedDate": "Sun, 21 Feb 2021 14:43:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race?ft=nprml&f=969943721",
"nprImageAgency": "ABC via Getty Images",
"nprStoryId": "969943721",
"nprByline": "Kalyani Saxena",
"sticky": false,
"nprImageCredit": "Craig Sjodin",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 21 Feb 2021 14:43:00 -0500",
"path": "/arts/13893077/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Controversy has once again come to \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>For almost 20 years, the franchise’s producers have churned out love stories at a nearly break-neck pace on the show and its spinoffs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise\u003c/em>. The franchise’s record on diversity, however, has been notably slow. In 2012, two Black men who had auditioned for the show \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">filed an unsuccessful class-action lawsuit\u003c/a> against it for racial discrimination. It took 15 years for the franchise to announce a Black lead, Bachelorette Rachel Lindsay in 2017.\u003c/p>\n\u003cp>Fans and contestants alike hoped that the casting of Matt James last year as the first black man to star in \u003cem>The Bachelor \u003c/em>would represent a shift for the show. However, despite starting this season with the most diverse cast in the franchise’s history, the show is again facing criticism around race. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_27797",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, photos emerged of contestant Rachael Kirkconnell wearing an antebellum-style plantation dress at an “Old-South” party in 2018. Other photos allegedly show her wearing Native American clothing as a costume.\u003c/p>\n\u003cp>Kirckconnell issued \u003ca href=\"https://www.instagram.com/p/CLK5YDHHDQT/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a>, saying “my ignorance was racist,” but the controversy was further exacerbated when host Chris Harrison sat down with Lindsay for an interview with \u003cem>Extra\u003c/em>. During the interview, Harrison condemned the “woke police” and defended Kirkconnell.\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>“These girls got dressed up and went to a party and had a great time; they were 18 years old. Now, does that make it okay? I don’t know, Rachael, you tell me,” Harrison said. His remarks were met with condemnation from many former contestants. He has since apologized and \u003ca href=\"https://www.instagram.com/p/CLPmjrFgEv8/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that he will temporarily be stepping away from the show.\u003c/p>\n\u003cp>To Brandy Monk-Payton, a media and Black cultural studies scholar at Fordham University, the show’s most recent controversy is anything but surprising.\u003c/p>\n\u003cp>“The franchise has been critiqued at the level of diversity, equity and inclusion for at least a decade,” she tells Michel Martin in \u003ca href=\"https://www.npr.org/2021/02/20/969800203/racism-controversy-rocks-bachelor-nation\" target=\"_blank\" rel=\"noopener noreferrer\">an interview on \u003cem>All Things Considered\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>According to Monk-Payton—who previously wrote about Lindsay’s role as the first Black \u003cem>Bachelorette—\u003c/em>the franchise’s problem with diversity is tied to a reluctance to make substantial production changes.\u003c/p>\n\u003cp>“I think that the franchise in general courts diversity. It goes to great lengths to promote itself as being more inclusive and equitable. They hire consultants, for example, but it does not fundamentally commit to a kind of long standing change in front of and behind the camera,” she says.\u003c/p>\n\u003cp>When asked about diversity on \u003cem>The Bachelor \u003c/em>in 2011, series creator Mike Fleiss\u003ca href=\"https://ew.com/article/2011/03/15/the-bachelor-creator-ashley-h/\" target=\"_blank\" rel=\"noopener noreferrer\"> said \u003c/a>in an interview with \u003cem>Entertainment Weekly \u003c/em>that people of color simply didn’t audition for the show.\u003c/p>\n\u003cp>“We really tried, but sometimes we feel guilty of tokenism. Oh, we have to wedge African-American chicks in there! We always want to cast for ethnic diversity, it’s just that for whatever reason, they don’t come forward. I wish they would,” Fleiss said.\u003c/p>\n\u003cp>Monk-Payton argues that the franchise’s penchant for drama helps lay the groundwork for continuous controversy. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_104953",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I also think that there is a little bit of a sense that there will be controversial characters and these cast members will express themselves or have behavior that will be on camera. And you can get a money shot. Like you can get, you know, a sort of dramatic scene. You can get a reveal or an exposure that is highly lucrative for the entire franchise in terms of audience attention,” she says.\u003c/p>\n\u003cp>On the question of whether the show exploits stereotypes, Monk-Payton believes that \u003cem>The\u003c/em> \u003cem>Bachelor\u003c/em>‘s traditional goal of engagement inhibits its ability to challenge negative attitudes or views.\u003c/p>\n\u003cp>“I want to put it into the context of it being a reality show. It attempts to have claims on certain forms of authenticity and truth that other fictional shows don’t. And so I think that it has tried to critique various stereotypical ideas around Black womanhood, femininity and masculinity. But there’s a way in which when it’s placed in this very conventional, traditional, hetero-normative idea of marriage, that it becomes incredibly hard to get out of those frameworks that are really constricting.” she says.\u003c/p>\n\u003cp>Monk-Payton, like many fans of color, has watched the show for years, despite the fact that she doesn’t see herself represented in its content. But she knows why she’ll continue to tune in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, as a Black woman who considers herself to be part of \u003cem>The Bachelor\u003c/em> Nation fandom, I’ve actually always had an ambivalent relationship to the franchise and its overwhelming whiteness. It is historically never spoken to me in terms of its representation of romance. And not only that, but also who gets to be an object of desire. And there is still something, however contrived, about the kind of fantasy of being romanced in a spectacular way that allures and also endures.”\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=In+A+Season+Highlighting+Diversity%2C+%27The+Bachelor%27+Lands+In+Controversy+Around+Race&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13893077/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race",
"authors": [
"byline_arts_13893077"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8482",
"arts_5422",
"arts_9268"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13893078",
"label": "arts_137"
},
"arts_13892800": {
"type": "posts",
"id": "arts_13892800",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13892800",
"score": null,
"sort": [
1613750425000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1613750425,
"format": "standard",
"title": "'Allen v. Farrow' is the Most Damning Indictment of Woody Allen Yet",
"headTitle": "‘Allen v. Farrow’ is the Most Damning Indictment of Woody Allen Yet | KQED",
"content": "\u003cp>There are many astonishing things about HBO’s new four-part documentary series, \u003ca href=\"https://www.hbo.com/documentaries/allen-v-farrow\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. The first is just how many people in it—family, friends, neighbors, babysitters, ex-lovers—freely testify to Woody Allen’s unhealthy interest in young girls, including his own adopted daughter, Dylan. The second is how those revelations hit you as a bystander. As the four episodes unfurl, you feel shock, disbelief, disgust, and a deep, unerring sense that this will be—this \u003cem>has\u003c/em> to be—the end of Woody Allen.\u003c/p>\n\u003cp>The truth of the matter is that much of the information laid out in \u003cem>Allen v. Farrow\u003c/em> has been readily available for nearly 30 years. Originally published in a \u003cem>Vanity Fai\u003c/em>r article titled “\u003ca href=\"https://archive.vanityfair.com/article/share/cc1a6aed-1d33-45fd-99c6-731825a7f4d4?gclid=CjwKCAiAmrOBBhA0EiwArn3mfMFgBE64LDvo9n859q4Rk3kdkXTQyi6-JprDGx3xHUcofjL3iqdh3xoC-y4QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Mia’s Story\u003c/a>” back in November 1992, the many (\u003cem>many\u003c/em>) testimonies against Allen have been out there, hiding in plain sight, ever since. That they have gone so widely unheeded, ignored and swept under the rug all this time has been hurting the Farrow family—especially \u003ca href=\"https://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dylan\u003c/a>—ever since. And its bearing witness to that pain ultimately gives \u003cem>Allen v. Farrow\u003c/em> its power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKTOj7HnLbo\u003c/p>\n\u003cp>The series does an excellent job at deftly cutting through the defenses Allen has relied on, and hidden behind, since 1992. His narrative has long been that Farrow made up child sex-abuse allegations to get revenge on Allen after he left her for Soon-Yi Previn—one of her other adopted children. Allen’s defenders have argued repeatedly that 7-year-old Dylan had been coached by Farrow to tell lies about him.\u003c/p>\n\u003cp>That version of events is undercut in \u003cem>Allen v. Farrow\u003c/em> by corroborated statements that describe in detail Woody Allen’s smothering and obsessive behavior toward Dylan from the time she was a toddler. Mia Farrow talks of his “incredible amount of focus on her” from the time she was born. As Dylan got older, multiple witnesses report, Allen’s behavior towards her became more and more inappropriate. One even says she saw him molest Dylan at an outing to the beach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is also said that Allen often isolated Dylan from her siblings. “He followed Dylan wherever she went,” says Priscilla Gilman, a family friend who spent a lot of time with the kids when they were growing up. “We’d be playing … and I’d look up and he’d be just standing there watching. Silently.”\u003c/p>\n\u003cp>We also hear of interventions from mental health professionals, including Dr. Ethel Person, who contacted Farrow after seeing Allen interacting with Dylan in a manner she found concerning. Allen began therapy in the late ’80s to deal with his “inappropriately intense” behavior with Dylan, but the consensus at the time was that he simply had not been around enough children to express his affection appropriately. His promises to work on it eased Farrow’s concerns, even though Dylan was in therapy by the age of 5 because of how withdrawn she had become, particularly around her father. [aside postid='pop_98603']\u003c/p>\n\u003cp>One gets a visceral sense here of how suddenly regular family life imploded once and for all when Farrow describes finding graphic naked photos of Soon-Yi at Allen’s apartment. (The couple had always kept separate residences.) The children, without exception, withdrew from Allen and supported their mother. It was at this time that Dylan said she realized, “It’s not just me,” and spoke up about Allen sexually abusing her.\u003c/p>\n\u003cp>That assertion is compounded here by the revelation that Soon-Yi was visiting Allen’s apartment long before their relationship was made public. The documentary reports: “Allen’s housekeeper testified she found what she believed to be semen stains on the sheets and condom wrappers in the wastebasket after Soon-Yi’s visits, while Soon-Yi was still in high school.”\u003c/p>\n\u003cp>The series also does a meticulous job presenting Woody Allen’s art as speaking for itself. In the second episode, one \u003cem>Washington Post \u003c/em>journalist, Richard Morgan, discusses the content of Princeton University’s Woody Allen Archives. Morgan, having studied the scripts, notes and short stories from Allen’s collection, shares his concerns about the content.\u003c/p>\n\u003cp>“The thing that kept on showing up was this focus he had on very young women,” Morgan says. “It’s basically always an older guy trying to deal with this younger woman … It was almost assembly-line, every single time: 18-year-old, 18-year-old, 18-year-old. Cocktail waitress, cocktail waitress, stewardess, cocktail waitress, college student … The repetitiveness of the attention sort of got into this obsessive territory.”\u003c/p>\n\u003cp>A montage of clips from Allen’s films are played—including \u003cem>Crimes and Misdemeanors\u003c/em>, \u003cem>Whatever Works\u003c/em>, \u003cem>Mighty Aphrodite\u003c/em>, \u003cem>Husbands and Wives\u003c/em>, \u003cem>Broadway Danny Rose\u003c/em>, \u003cem>September\u003c/em>, \u003cem>A Midsummer Night’s Sex Comedy\u003c/em>, \u003cem>Another Woman\u003c/em> and \u003cem>Manhattan\u003c/em>—to illustrate the point. All feature relationships between older men and much younger woman. “In a sense, he’s grooming us,” offers Alissa Wilkinson, a journalist at \u003cem>Vox\u003c/em>. “When you see it over and over, it kind of attunes you to thinking ‘This is normal, this is just a thing that people do. It’s fine, and there’s nothing I should feel odd about.'”\u003c/p>\n\u003cp>Then comes the revelation that, in 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079522/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Manhattan\u003c/em>\u003c/a>, the relationship between 46-year-old Isaac and 17-year-old Mary was based on a “secret relationship” Allen had in real life with a teenager named Christina Englehardt. Englehardt says her relationship with Allen, which began when she was 17, was born out of a desire to feel safe after being raped four times in her earlier teens. “I know it’s taken a toll on me,” she says of her relationship with Allen. “It’s taken a toll on how I’ve been in relationships—trust in relationships. And it’s made me a super vigilant mother.” [aside postid='arts_13876101']\u003c/p>\n\u003cp>Though Allen doesn’t participate in \u003cem>Allen v. Farrow\u003c/em> directly, his voice and perspective is heard throughout, via passages from the audiobook version of his 2020 autobiography, \u003cem>Apropos of Nothing\u003c/em>. Arguments between he and Farrow are also here in the form of taped—and often chilling—telephone conversations after the Soon-Yi scandal became public.\u003c/p>\n\u003cp>In the end,\u003cem> Allen v. Farrow\u003c/em> leaves no stone unturned in its presentation of what happened to this family during the ’80s and ’90s. And though there is much here that is already in the public domain, seeing it condensed and explored in such depth, alongside family photos and home videos, is a shocking and heart-wrenching experience. Anyone who watches these four episodes won’t be left with any questions about Allen’s behavior—only how he got away with it for so long.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Allen v. Farrow’ premieres Sunday, Feb. 21, on HBO.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1205,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019451,
"excerpt": "A new four-part HBO documentary series deftly cuts through the defenses Allen has hid behind for three decades.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new four-part HBO documentary series deftly cuts through the defenses Allen has hid behind for three decades.",
"title": "'Allen v. Farrow' is the Most Damning Indictment of Woody Allen Yet | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Allen v. Farrow' is the Most Damning Indictment of Woody Allen Yet",
"datePublished": "2021-02-19T08:00:25-08:00",
"dateModified": "2024-01-11T16:30:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are many astonishing things about HBO’s new four-part documentary series, \u003ca href=\"https://www.hbo.com/documentaries/allen-v-farrow\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. The first is just how many people in it—family, friends, neighbors, babysitters, ex-lovers—freely testify to Woody Allen’s unhealthy interest in young girls, including his own adopted daughter, Dylan. The second is how those revelations hit you as a bystander. As the four episodes unfurl, you feel shock, disbelief, disgust, and a deep, unerring sense that this will be—this \u003cem>has\u003c/em> to be—the end of Woody Allen.\u003c/p>\n\u003cp>The truth of the matter is that much of the information laid out in \u003cem>Allen v. Farrow\u003c/em> has been readily available for nearly 30 years. Originally published in a \u003cem>Vanity Fai\u003c/em>r article titled “\u003ca href=\"https://archive.vanityfair.com/article/share/cc1a6aed-1d33-45fd-99c6-731825a7f4d4?gclid=CjwKCAiAmrOBBhA0EiwArn3mfMFgBE64LDvo9n859q4Rk3kdkXTQyi6-JprDGx3xHUcofjL3iqdh3xoC-y4QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Mia’s Story\u003c/a>” back in November 1992, the many (\u003cem>many\u003c/em>) testimonies against Allen have been out there, hiding in plain sight, ever since. That they have gone so widely unheeded, ignored and swept under the rug all this time has been hurting the Farrow family—especially \u003ca href=\"https://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dylan\u003c/a>—ever since. And its bearing witness to that pain ultimately gives \u003cem>Allen v. Farrow\u003c/em> its power.\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/cKTOj7HnLbo'\n title='//www.youtube.com/embed/cKTOj7HnLbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series does an excellent job at deftly cutting through the defenses Allen has relied on, and hidden behind, since 1992. His narrative has long been that Farrow made up child sex-abuse allegations to get revenge on Allen after he left her for Soon-Yi Previn—one of her other adopted children. Allen’s defenders have argued repeatedly that 7-year-old Dylan had been coached by Farrow to tell lies about him.\u003c/p>\n\u003cp>That version of events is undercut in \u003cem>Allen v. Farrow\u003c/em> by corroborated statements that describe in detail Woody Allen’s smothering and obsessive behavior toward Dylan from the time she was a toddler. Mia Farrow talks of his “incredible amount of focus on her” from the time she was born. As Dylan got older, multiple witnesses report, Allen’s behavior towards her became more and more inappropriate. One even says she saw him molest Dylan at an outing to the beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is also said that Allen often isolated Dylan from her siblings. “He followed Dylan wherever she went,” says Priscilla Gilman, a family friend who spent a lot of time with the kids when they were growing up. “We’d be playing … and I’d look up and he’d be just standing there watching. Silently.”\u003c/p>\n\u003cp>We also hear of interventions from mental health professionals, including Dr. Ethel Person, who contacted Farrow after seeing Allen interacting with Dylan in a manner she found concerning. Allen began therapy in the late ’80s to deal with his “inappropriately intense” behavior with Dylan, but the consensus at the time was that he simply had not been around enough children to express his affection appropriately. His promises to work on it eased Farrow’s concerns, even though Dylan was in therapy by the age of 5 because of how withdrawn she had become, particularly around her father. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_98603",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One gets a visceral sense here of how suddenly regular family life imploded once and for all when Farrow describes finding graphic naked photos of Soon-Yi at Allen’s apartment. (The couple had always kept separate residences.) The children, without exception, withdrew from Allen and supported their mother. It was at this time that Dylan said she realized, “It’s not just me,” and spoke up about Allen sexually abusing her.\u003c/p>\n\u003cp>That assertion is compounded here by the revelation that Soon-Yi was visiting Allen’s apartment long before their relationship was made public. The documentary reports: “Allen’s housekeeper testified she found what she believed to be semen stains on the sheets and condom wrappers in the wastebasket after Soon-Yi’s visits, while Soon-Yi was still in high school.”\u003c/p>\n\u003cp>The series also does a meticulous job presenting Woody Allen’s art as speaking for itself. In the second episode, one \u003cem>Washington Post \u003c/em>journalist, Richard Morgan, discusses the content of Princeton University’s Woody Allen Archives. Morgan, having studied the scripts, notes and short stories from Allen’s collection, shares his concerns about the content.\u003c/p>\n\u003cp>“The thing that kept on showing up was this focus he had on very young women,” Morgan says. “It’s basically always an older guy trying to deal with this younger woman … It was almost assembly-line, every single time: 18-year-old, 18-year-old, 18-year-old. Cocktail waitress, cocktail waitress, stewardess, cocktail waitress, college student … The repetitiveness of the attention sort of got into this obsessive territory.”\u003c/p>\n\u003cp>A montage of clips from Allen’s films are played—including \u003cem>Crimes and Misdemeanors\u003c/em>, \u003cem>Whatever Works\u003c/em>, \u003cem>Mighty Aphrodite\u003c/em>, \u003cem>Husbands and Wives\u003c/em>, \u003cem>Broadway Danny Rose\u003c/em>, \u003cem>September\u003c/em>, \u003cem>A Midsummer Night’s Sex Comedy\u003c/em>, \u003cem>Another Woman\u003c/em> and \u003cem>Manhattan\u003c/em>—to illustrate the point. All feature relationships between older men and much younger woman. “In a sense, he’s grooming us,” offers Alissa Wilkinson, a journalist at \u003cem>Vox\u003c/em>. “When you see it over and over, it kind of attunes you to thinking ‘This is normal, this is just a thing that people do. It’s fine, and there’s nothing I should feel odd about.'”\u003c/p>\n\u003cp>Then comes the revelation that, in 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079522/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Manhattan\u003c/em>\u003c/a>, the relationship between 46-year-old Isaac and 17-year-old Mary was based on a “secret relationship” Allen had in real life with a teenager named Christina Englehardt. Englehardt says her relationship with Allen, which began when she was 17, was born out of a desire to feel safe after being raped four times in her earlier teens. “I know it’s taken a toll on me,” she says of her relationship with Allen. “It’s taken a toll on how I’ve been in relationships—trust in relationships. And it’s made me a super vigilant mother.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13876101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Allen doesn’t participate in \u003cem>Allen v. Farrow\u003c/em> directly, his voice and perspective is heard throughout, via passages from the audiobook version of his 2020 autobiography, \u003cem>Apropos of Nothing\u003c/em>. Arguments between he and Farrow are also here in the form of taped—and often chilling—telephone conversations after the Soon-Yi scandal became public.\u003c/p>\n\u003cp>In the end,\u003cem> Allen v. Farrow\u003c/em> leaves no stone unturned in its presentation of what happened to this family during the ’80s and ’90s. And though there is much here that is already in the public domain, seeing it condensed and explored in such depth, alongside family photos and home videos, is a shocking and heart-wrenching experience. Anyone who watches these four episodes won’t be left with any questions about Allen’s behavior—only how he got away with it for so long.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\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>‘Allen v. Farrow’ premieres Sunday, Feb. 21, on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_2798",
"arts_10342",
"arts_1962",
"arts_8350",
"arts_5050"
],
"featImg": "arts_13892871",
"label": "arts"
},
"arts_13892850": {
"type": "posts",
"id": "arts_13892850",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13892850",
"score": null,
"sort": [
1613593011000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1613593011,
"format": "standard",
"title": "'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19",
"headTitle": "‘It’s a Sin’ Series, Set During AIDS Epidemic, Resonates During COVID-19 | KQED",
"content": "\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnR5DxP2e2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. [aside postid='arts_13881934']\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 760,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705019464,
"excerpt": "As with COVID, AIDS had deniers and conspiracy theorists. HBO's new five-part series depicts its emergence in 1980s London.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As with COVID, AIDS had deniers and conspiracy theorists. HBO's new five-part series depicts its emergence in 1980s London.",
"title": "'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19",
"datePublished": "2021-02-17T12:16:51-08:00",
"dateModified": "2024-01-11T16:31:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=968365774&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 17 Feb 2021 11:10:55 -0500",
"nprLastModifiedDate": "Wed, 17 Feb 2021 11:11:26 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/17/968365774/its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19?ft=nprml&f=968365774",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/02/20210217_fa_02.mp3?orgId=427869011&topicId=1138&d=407&p=13&story=968365774&ft=nprml&f=968365774",
"nprImageAgency": "HBO Max",
"nprAudioM3u": "http://api.npr.org/m3u/1968702429-a9bd4c.m3u?orgId=427869011&topicId=1138&d=407&p=13&story=968365774&ft=nprml&f=968365774",
"nprStoryId": "968365774",
"nprByline": "John Powers",
"sticky": false,
"nprImageCredit": "Ben Blackall",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 17 Feb 2021 13:45:00 -0500",
"path": "/arts/13892850/its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/02/20210217_fa_02.mp3?orgId=427869011&topicId=1138&d=407&p=13&story=968365774&ft=nprml&f=968365774",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13858699",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\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/hnR5DxP2e2g'\n title='//www.youtube.com/embed/hnR5DxP2e2g'\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>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13881934",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13892850/its-a-sin-series-set-during-aids-epidemic-resonates-during-covid-19",
"authors": [
"byline_arts_13892850"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_2449",
"arts_8350",
"arts_5237",
"arts_10166"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13892851",
"label": "arts_137"
},
"arts_13892633": {
"type": "posts",
"id": "arts_13892633",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13892633",
"score": null,
"sort": [
1613070991000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1613070991,
"format": "standard",
"title": "Lucasfilm Ditches Gina Carano From 'The Mandalorian' Over Social Media Posts",
"headTitle": "Lucasfilm Ditches Gina Carano From ‘The Mandalorian’ Over Social Media Posts | KQED",
"content": "\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. [aside postid='pop_83529']\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 495,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705019495,
"excerpt": "The action star came under fire for saying today's political climate in the U.S. is similar to Nazi Germany's treatment of Jews.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The action star came under fire for saying today's political climate in the U.S. is similar to Nazi Germany's treatment of Jews.",
"title": "Lucasfilm Ditches Gina Carano From 'The Mandalorian' Over Social Media Posts | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lucasfilm Ditches Gina Carano From 'The Mandalorian' Over Social Media Posts",
"datePublished": "2021-02-11T11:16:31-08:00",
"dateModified": "2024-01-11T16:31:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lucasfilm-ditches-gina-carano-from-the-mandalorian-over-social-media-posts",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=966826718&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 11 Feb 2021 09:49:42 -0500",
"nprLastModifiedDate": "Thu, 11 Feb 2021 11:16:29 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/11/966826718/lucasfilm-fires-gina-carano-from-the-mandalorian-over-social-media-posts?ft=nprml&f=966826718",
"nprImageAgency": "Getty Images",
"nprStoryId": "966826718",
"nprByline": "Bill Chappell",
"sticky": false,
"nprImageCredit": "Jean Baptiste Lacroix",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Feb 2021 11:16:00 -0500",
"path": "/arts/13892633/lucasfilm-ditches-gina-carano-from-the-mandalorian-over-social-media-posts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\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 response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_83529",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13892633/lucasfilm-ditches-gina-carano-from-the-mandalorian-over-social-media-posts",
"authors": [
"byline_arts_13892633"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_3114",
"arts_977",
"arts_3241",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13892634",
"label": "arts_137"
},
"arts_13892207": {
"type": "posts",
"id": "arts_13892207",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13892207",
"score": null,
"sort": [
1612462156000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1612462156,
"format": "standard",
"title": "Lack of Diversity Mars Golden Globe TV Nominations",
"headTitle": "Lack of Diversity Mars Golden Globe TV Nominations | KQED",
"content": "\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Beyond her own achievements, Coel’s work was the best example of how the high-quality TV space saw some much-needed ethnic diversity last year, especially among female performers. Jurnee Smollett, Aunjanue Ellis and Wunmi Mosaku on HBO’s\u003cem> Lovecraft Country\u003c/em>. Adjoa Andoh, who played the smart, sharp-tongued Lady Danbury on Netflix’s hit drama, \u003cem>Bridgerton\u003c/em>. Emmy winner Zendaya, in the Christmas episode of HBO’s \u003cem>Euphoria\u003c/em>. Uzo Aduba as Shirley Chisholm on FX’s miniseries \u003cem>Mrs. America.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. [aside postid='arts_13884214']\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\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=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 845,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019541,
"excerpt": "Michaela Coel's masterpiece, 'I May Destroy You,' was one of many TV shows with creators and actors of color that were snubbed.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Michaela Coel's masterpiece, 'I May Destroy You,' was one of many TV shows with creators and actors of color that were snubbed.",
"title": "Lack of Diversity Mars Golden Globe TV Nominations | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lack of Diversity Mars Golden Globe TV Nominations",
"datePublished": "2021-02-04T10:09:16-08:00",
"dateModified": "2024-01-11T16:32:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lack-of-diversity-mars-golden-globe-tv-nominations",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=963726157&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 03 Feb 2021 18:58:00 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 04 Feb 2021 03:37:33 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations?ft=nprml&f=963726157",
"nprImageAgency": "Natalie Seery/HBO",
"nprStoryId": "963726157",
"nprByline": "Eric Deggans",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 04 Feb 2021 03:37:00 -0500",
"path": "/arts/13892207/lack-of-diversity-mars-golden-globe-tv-nominations",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891785",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond her own achievements, Coel’s work was the best example of how the high-quality TV space saw some much-needed ethnic diversity last year, especially among female performers. Jurnee Smollett, Aunjanue Ellis and Wunmi Mosaku on HBO’s\u003cem> Lovecraft Country\u003c/em>. Adjoa Andoh, who played the smart, sharp-tongued Lady Danbury on Netflix’s hit drama, \u003cem>Bridgerton\u003c/em>. Emmy winner Zendaya, in the Christmas episode of HBO’s \u003cem>Euphoria\u003c/em>. Uzo Aduba as Shirley Chisholm on FX’s miniseries \u003cem>Mrs. America.\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>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884214",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\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=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13892207/lack-of-diversity-mars-golden-globe-tv-nominations",
"authors": [
"byline_arts_13892207"
],
"categories": [
"arts_1",
"arts_2303",
"arts_990"
],
"tags": [
"arts_2767",
"arts_12226",
"arts_6174"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13892208",
"label": "arts_137"
},
"arts_13892167": {
"type": "posts",
"id": "arts_13892167",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13892167",
"score": null,
"sort": [
1612378269000
]
},
"guestAuthors": [],
"slug": "black-panther-director-ryan-coogler-to-create-new-spinoff-show-for-disney",
"title": "‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+",
"publishDate": 1612378269,
"format": "standard",
"headTitle": "‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. [aside postid='arts_13824541']\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The new Wakanda show will be his first project under a new multi-year television contract with The Walt Disney Company.",
"status": "publish",
"parent": 0,
"modified": 1726761165,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 224
},
"headData": {
"title": "‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+ | KQED",
"description": "The new Wakanda show will be his first project under a new multi-year television contract with The Walt Disney Company.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+",
"datePublished": "2021-02-03T10:51:09-08:00",
"dateModified": "2024-09-19T08:52:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13892167/black-panther-director-ryan-coogler-to-create-new-spinoff-show-for-disney",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13824541",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13892167/black-panther-director-ryan-coogler-to-create-new-spinoff-show-for-disney",
"authors": [
"11734"
],
"categories": [
"arts_1",
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_3563",
"arts_3114",
"arts_10278",
"arts_977",
"arts_3961"
],
"featImg": "arts_13825817",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 480,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1039,
"relation": "eq"
},
"items": [
"arts_13893976",
"arts_13893961",
"arts_13893614",
"arts_13893475",
"arts_13893446",
"arts_13893190",
"arts_13893077",
"arts_13892800",
"arts_13892850",
"arts_13892633",
"arts_13892207",
"arts_13892167"
],
"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"
},
"source_arts_13893614": {
"type": "terms",
"id": "source_arts_13893614",
"meta": {
"override": true
},
"name": "Rightnowish",
"link": "https://www.kqed.org/podcasts/rightnowish",
"isLoading": false
},
"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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_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_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_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_13193": {
"type": "terms",
"id": "arts_13193",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13193",
"found": true
},
"relationships": {},
"featImg": null,
"name": "IRA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "IRA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13205,
"slug": "ira",
"isLoading": false,
"link": "/arts/tag/ira"
},
"arts_8720": {
"type": "terms",
"id": "arts_8720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rightnowish",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8732,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/program/rightnowish"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"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_21759": {
"type": "terms",
"id": "arts_21759",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21759",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21771,
"slug": "podcast",
"isLoading": false,
"link": "/arts/category/podcast"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"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_1773": {
"type": "terms",
"id": "arts_1773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigration",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1785,
"slug": "immigration",
"isLoading": false,
"link": "/arts/tag/immigration"
},
"arts_13671": {
"type": "terms",
"id": "arts_13671",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13671",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Reproductive Rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Reproductive Rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13683,
"slug": "reproductive-rights",
"isLoading": false,
"link": "/arts/tag/reproductive-rights"
},
"arts_6764": {
"type": "terms",
"id": "arts_6764",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6764",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/Rightnowish-Link-for-Social.jpg",
"name": "Rightnowish",
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs. ",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs.",
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6776,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/tag/rightnowish"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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_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_11327": {
"type": "terms",
"id": "arts_11327",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11327",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chadwick Boseman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chadwick Boseman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11339,
"slug": "chadwick-boseman",
"isLoading": false,
"link": "/arts/tag/chadwick-boseman"
},
"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"
},
"arts_12322": {
"type": "terms",
"id": "arts_12322",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "films",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12334,
"slug": "films",
"isLoading": false,
"link": "/arts/tag/films"
},
"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_2388": {
"type": "terms",
"id": "arts_2388",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2388",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jane Fonda",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jane Fonda Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2400,
"slug": "jane-fonda",
"isLoading": false,
"link": "/arts/tag/jane-fonda"
},
"arts_13605": {
"type": "terms",
"id": "arts_13605",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13605",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Laura Dern",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Laura Dern Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13617,
"slug": "laura-dern",
"isLoading": false,
"link": "/arts/tag/laura-dern"
},
"arts_8482": {
"type": "terms",
"id": "arts_8482",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8482",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ABC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ABC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8494,
"slug": "abc",
"isLoading": false,
"link": "/arts/tag/abc"
},
"arts_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_9268": {
"type": "terms",
"id": "arts_9268",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9268",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the bachelor",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the bachelor Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9280,
"slug": "the-bachelor",
"isLoading": false,
"link": "/arts/tag/the-bachelor"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"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_5050": {
"type": "terms",
"id": "arts_5050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Woody Allen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Woody Allen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5062,
"slug": "woody-allen",
"isLoading": false,
"link": "/arts/tag/woody-allen"
},
"arts_2449": {
"type": "terms",
"id": "arts_2449",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2449",
"found": true
},
"relationships": {},
"featImg": null,
"name": "AIDS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "AIDS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2461,
"slug": "aids",
"isLoading": false,
"link": "/arts/tag/aids"
},
"arts_5237": {
"type": "terms",
"id": "arts_5237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "london",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "london Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5249,
"slug": "london",
"isLoading": false,
"link": "/arts/tag/london"
},
"arts_10166": {
"type": "terms",
"id": "arts_10166",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10166",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pandemic",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pandemic Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10178,
"slug": "pandemic",
"isLoading": false,
"link": "/arts/tag/pandemic"
},
"arts_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_12226": {
"type": "terms",
"id": "arts_12226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12226",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Euphoria",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Euphoria Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12238,
"slug": "euphoria",
"isLoading": false,
"link": "/arts/tag/euphoria"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_3563": {
"type": "terms",
"id": "arts_3563",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3563",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Panther",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Panther Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3575,
"slug": "black-panther",
"isLoading": false,
"link": "/arts/tag/black-panther"
},
"arts_3961": {
"type": "terms",
"id": "arts_3961",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3961",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ryan Coogler",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ryan Coogler Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3973,
"slug": "ryan-coogler",
"isLoading": false,
"link": "/arts/tag/ryan-coogler"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}