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_13890001": {
"type": "attachments",
"id": "arts_13890001",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890001",
"found": true
},
"parent": 13890000,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-scaled-e1607106104708.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/117014_3984-77dd2d33e41b4f6a5a1896e9fe7d2130bb84f605-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1607105680,
"modified": 1607106143,
"caption": "Marcel Ruiz as Alex Alvarez, Rita Moreno as Lydia Riera, and Isabella Gomez as Elena Alvarez in 'One Day At A Time.'",
"description": "Marcel Ruiz as Alex Alvarez, Rita Moreno as Lydia Riera, and Isabella Gomez as Elena Alvarez in 'One Day At A Time.'",
"title": "Marcel Ruiz as Alex Alvarez, Rita Moreno as Lydia Riera, and Isabella Gomez as Elena Alvarez in 'One Day At A Time.'",
"credit": "Nicole Wilder/POPTV",
"status": "inherit",
"altTag": "Marcel Ruiz as Alex Alvarez, Rita Moreno as Lydia Riera, and Isabella Gomez as Elena Alvarez in 'One Day At A Time.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13889906": {
"type": "attachments",
"id": "arts_13889906",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889906",
"found": true
},
"parent": 13889904,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f.jpg",
"width": 1616,
"height": 1212
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/industry-2-ab6afe64cd6d25a0814e23da50c3a7820167c40f-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1607023556,
"modified": 1607024556,
"caption": "In 'Industry', Harper (Myha'la Herrold) oscillates between imposter syndrome and the calculating confidence of Shiv Roy in 'Succession.'",
"description": null,
"title": "In 'Industry', Harper (Myha'la Herrold) oscillates between imposter syndrome and the calculating confidence of Shiv Roy in 'Succession.'",
"credit": "Amanda Searle/HBO",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13889644": {
"type": "attachments",
"id": "arts_13889644",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889644",
"found": true
},
"parent": 13889643,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b.jpg",
"width": 1198,
"height": 898
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/ap_20328808179298-115609d4f9920ba3b9876402970eb765b027895b-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1606244795,
"modified": 1606245401,
"caption": "Ken Jennings, a 74-time champion of the popular quiz show, will be the first interim guest host stepping in for the late Alex Trebek. ",
"description": "Ken Jennings, a 74-time champion of the popular quiz show, will be the first interim guest host stepping in for the late Alex Trebek. ",
"title": "Ken Jennings, a 74-time champion of the popular quiz show, will be the first interim guest host stepping in for the late Alex Trebek.",
"credit": "JEOPARDY! via AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889182": {
"type": "attachments",
"id": "arts_13889182",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889182",
"found": true
},
"parent": 13889169,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-e1605213154827.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/https_2F2Fnetflixlife.com2Ffiles2Fimage-exchange2F20202F102Fie_58012-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1605213127,
"modified": 1605213233,
"caption": "Dolly Parton as Angel in 'Dolly Parton's Christmas on the Square.'",
"description": "Dolly Parton as Angel in 'Dolly Parton's Christmas on the Square.'",
"title": "Dolly Parton as Angel in 'Dolly Parton's Christmas on the Square.'",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889572": {
"type": "attachments",
"id": "arts_13889572",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889572",
"found": true
},
"parent": 13889571,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-160x103.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-scaled.jpg",
"width": 2560,
"height": 1646
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-2048x1317.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1317
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-1020x656.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 656
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-1536x988.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 988
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-1920x1235.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1235
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-800x514.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 514
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_103_unit_02048rc_custom-8735a8aa15c8b8703a654e1e8f0923a3f3b255b1-768x494.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 494
}
},
"publishDate": 1605905827,
"modified": 1605906197,
"caption": "Anya Taylor-Joy plays a swaggering chess prodigy in the new Netflix hit, 'The Queen's Gambit.' It's success may lead to a shortage of chess sets this holiday season.",
"description": "Anya Taylor-Joy plays a swaggering chess prodigy in the new Netflix hit, 'The Queen's Gambit.' It's success may lead to a shortage of chess sets this holiday season.",
"title": "Anya Taylor-Joy plays a swaggering chess prodigy in the new Netflix hit, 'The Queen's Gambit.' It's success may lead to a shortage of chess sets this holiday season.",
"credit": "Phil Bray/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889564": {
"type": "attachments",
"id": "arts_13889564",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889564",
"found": true
},
"parent": 13889554,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-160x89.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 89
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image.jpg",
"width": 2000,
"height": 1111
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-1020x567.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 567
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-1536x853.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 853
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-1920x1067.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1067
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-800x444.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 444
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/image-768x427.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 427
}
},
"publishDate": 1605903732,
"modified": 1605903863,
"caption": "Rachel Maddow, broadcasting from home on Thusday Nov. 19, 2020.",
"description": "Rachel Maddow, broadcasting from home on Thusday Nov. 19, 2020.",
"title": "Rachel Maddow, broadcasting from home on Thusday Nov. 19, 2020.",
"credit": "MSNBC",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889484": {
"type": "attachments",
"id": "arts_13889484",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889484",
"found": true
},
"parent": 13889483,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72.jpg",
"width": 1429,
"height": 1071
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72-1020x764.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 764
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/fresh-prince-reunion-95324b076d28e0ed264d6603ca0363e1a2207e72-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1605817871,
"modified": 1605819046,
"caption": "Will Smith and Janet Hubert came back together for the first time in 27 years for the 'Fresh Prince Reunion Special.'",
"description": "Will Smith and Janet Hubert came back together for the first time in 27 years for the 'Fresh Prince Reunion Special.'",
"title": "Will Smith and Janet Hubert came back together for the first time in 27 years for the 'Fresh Prince Reunion Special.'",
"credit": "Saeed Adyani/HBO Max",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889417": {
"type": "attachments",
"id": "arts_13889417",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889417",
"found": true
},
"parent": 13889416,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-scaled-e1605737070836.jpg",
"width": 1920,
"height": 1079
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gbbo-talent-196_wide-94f8bc0f865b47eab5a9e4b2c773d262dc769d19-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1605733113,
"modified": 1605737249,
"caption": "Comedian Matt Lucas (top left) joins co-host Noel Fielding and judges Paul Hollywood and Prue Leith in the tent for the new series of 'The Great British Baking Show'.",
"description": "Comedian Matt Lucas (top left) joins co-host Noel Fielding and judges Paul Hollywood and Prue Leith in the tent for the new series of 'The Great British Baking Show'.",
"title": "Comedian Matt Lucas (top left) joins co-host Noel Fielding and judges Paul Hollywood and Prue Leith in the tent for the new series of 'The Great British Baking Show'.",
"credit": "Love Productions/Mark Bourdillon",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889380": {
"type": "attachments",
"id": "arts_13889380",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889380",
"found": true
},
"parent": 13889379,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb.jpe",
"width": 1917,
"height": 1077
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-1020x573.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-1536x863.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 863
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-800x449.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/lego_star_wars_holiday_special_1_740ec75a_wide-2de2cf7578519ca57fb478b54ccdd903df012bfb-768x431.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
}
},
"publishDate": 1605646700,
"modified": 1605647861,
"caption": "\"Now THAT's fan-servicing!': L to R: LEGO Finn, LEGO Rey, LEGO Poe, LEGO Rose and LEGO Chewie plan a Life Day party in 'The LEGO Star Wars Holiday Special.'",
"description": "\"Now THAT's fan-servicing!': L to R: LEGO Finn, LEGO Rey, LEGO Poe, LEGO Rose and LEGO Chewie plan a Life Day party in 'The LEGO Star Wars Holiday Special.'",
"title": "\"Now THAT's fan-servicing!': L to R: LEGO Finn, LEGO Rey, LEGO Poe, LEGO Rose and LEGO Chewie plan a Life Day party in 'The LEGO Star Wars Holiday Special.'",
"credit": "Disney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889335": {
"type": "attachments",
"id": "arts_13889335",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889335",
"found": true
},
"parent": 13889334,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-scaled-e1605560894162.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/cred-des-willie-netflix_wide-84205b20336165ade1b267ca302f6323981c71f1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1605560347,
"modified": 1605560936,
"caption": "Gillian Anderson portrays British Prime Minister Margaret Thatcher in Season 4 of 'The Crown.'",
"description": "Gillian Anderson portrays British Prime Minister Margaret Thatcher in Season 4 of 'The Crown.'",
"title": "Gillian Anderson portrays British Prime Minister Margaret Thatcher in Season 4 of 'The Crown.'",
"credit": "Des Willie/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889202": {
"type": "attachments",
"id": "arts_13889202",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889202",
"found": true
},
"parent": 13889201,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-scaled-e1605215519785.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/thecrown_403_unit_02388_rt_wide-818e31751c45822b1ac6edfcf57aa76d0f715eab-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1605215028,
"modified": 1605215573,
"caption": "Emma Corrin plays Princess Diana in the latest season of 'The Crown.'",
"description": "Emma Corrin plays Princess Diana in the latest season of 'The Crown.'",
"title": "Emma Corrin plays Princess Diana in the latest season of 'The Crown.'",
"credit": "Des Willie/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13889019": {
"type": "attachments",
"id": "arts_13889019",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889019",
"found": true
},
"parent": 13889018,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-scaled.jpg",
"width": 2560,
"height": 1701
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-2048x1361.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1361
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-1536x1020.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1020
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-1920x1276.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1276
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/gettyimages-98521850_custom-119ac637c25671bbae7c9780c76aea904dcbb9f1-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1604861762,
"modified": 1604861762,
"caption": null,
"description": "Trebek said he hated to see contestants lose for forgetting to phrase their answers as questions. \"I'm there to see that the contestants do as well as they can within the context of the rules,\" he told \u003cem>\u003c/em>\u003cem>Fresh Air'\u003c/em>s Terry Gross in 1987. Above, Trebek poses on set in April 2010.",
"title": "Trebek said he hated to see contestants lose for forgetting to phrase their answers as questions. \"I'm there to see that the contestants do as well as they can within the context of the rules,\" he told Fresh Air's Terry Gross in 1987. Above, Trebek poses on the set in April 2010.",
"credit": null,
"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_13890000": {
"type": "authors",
"id": "byline_arts_13890000",
"meta": {
"override": true
},
"slug": "byline_arts_13890000",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13889904": {
"type": "authors",
"id": "byline_arts_13889904",
"meta": {
"override": true
},
"slug": "byline_arts_13889904",
"name": "Aisha Harris",
"isLoading": false
},
"byline_arts_13889643": {
"type": "authors",
"id": "byline_arts_13889643",
"meta": {
"override": true
},
"slug": "byline_arts_13889643",
"name": "Vanessa Romo",
"isLoading": false
},
"byline_arts_13889571": {
"type": "authors",
"id": "byline_arts_13889571",
"meta": {
"override": true
},
"slug": "byline_arts_13889571",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13889483": {
"type": "authors",
"id": "byline_arts_13889483",
"meta": {
"override": true
},
"slug": "byline_arts_13889483",
"name": "Aisha Harris",
"isLoading": false
},
"byline_arts_13889416": {
"type": "authors",
"id": "byline_arts_13889416",
"meta": {
"override": true
},
"slug": "byline_arts_13889416",
"name": "Ari Shapiro",
"isLoading": false
},
"byline_arts_13889379": {
"type": "authors",
"id": "byline_arts_13889379",
"meta": {
"override": true
},
"slug": "byline_arts_13889379",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13889334": {
"type": "authors",
"id": "byline_arts_13889334",
"meta": {
"override": true
},
"slug": "byline_arts_13889334",
"name": "Terry Gross",
"isLoading": false
},
"byline_arts_13889201": {
"type": "authors",
"id": "byline_arts_13889201",
"meta": {
"override": true
},
"slug": "byline_arts_13889201",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13889018": {
"type": "authors",
"id": "byline_arts_13889018",
"meta": {
"override": true
},
"slug": "byline_arts_13889018",
"name": "Mandalit del Barco",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_category_tv": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"score": 12.668428
},
"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": 43
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=tv",
"seeMore": false,
"paginated": true,
"page": 43
}
},
{
"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_13890000": {
"type": "posts",
"id": "arts_13890000",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890000",
"score": null,
"sort": [
1607106239000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1607106239,
"format": "standard",
"title": "More Evidence Emerges That TV Doesn't Reflect Real Life Diversity",
"headTitle": "More Evidence Emerges That TV Doesn’t Reflect Real Life Diversity | KQED",
"content": "\u003cp>If you have the sense you’re seeing fewer women on TV than you encounter in everyday life, a new study by the Nielsen company may offer an explanation.\u003c/p>\n\u003cp>The study is titled \u003ca href=\"https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/\" target=\"_blank\" rel=\"noopener noreferrer\">“Being Seen On Screen: Diverse Representation and Inclusion on TV.”\u003c/a>\u003c/p>\n\u003cp>Researchers at Nielsen, the company which also provides TV viewership ratings, looked at the top 100 TV shows each in broadcast, cable and streaming, excluding sports, movies and animated shows.\u003c/p>\n\u003cp>In an analysis of diversity and inclusion among those 300 programs in 2019, Nielsen found women, Native Americans and Latinx people were among the most underrepresented groups relative to their numbers in the general population.\u003c/p>\n\u003cp>For example, women make up 52 percent of the U.S. population, but they show up onscreen 37.9 percent of the time, according to Nielsen’s study. It uses a metric called “share of screen”—the percentage of time members of specific groups appear as recurring cast members—to measure how often TV viewers actually see these types of people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The numbers get worse for women over age 50. This group is 20 percent of the population, but only gets 8 percent of screen time. Men over age 50, who are 17 percent of the population, get a 14 percent share of screen time—closer to their actual numbers in real life.\u003c/p>\n\u003cp>Latinos and non-white Hispanics were among the most underrepresented non-white racial groups—a trend also noted in other studies about \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/08/06/338324139/why-arent-top-films-diverse-as-the-real-world-they-miss-hispanics\" target=\"_blank\" rel=\"noopener noreferrer\">diversity in Hollywood.\u003c/a>\u003c/p>\n\u003cp>Nielsen found this disparity was consistent across broadcast, cable and streaming services, drawing a total 5.5 percent of screen time, though they are 18.8 percent of the population.\u003c/p>\n\u003cp>Native Americans’ share of screen time was less than one quarter of their presence in the population, totaling just .4 percent across broadcast, cable and streaming.\u003c/p>\n\u003cp>Black people—whose depictions in media became a focus of concern amid the worldwide reckoning over civil rights this summer—were actually slightly overrepresented with 18.1 percent of screen time, while comprising 14 percent of the population.\u003c/p>\n\u003cp>Nielsen found a TV landscape where representation has risen for some groups, as the number of media platforms continually increase and viewers look for content that tells their stories.\u003c/p>\n\u003cp>But overall, many groups who are marginalized in the real world remain underrepresented in media depictions—especially on cable TV, where white characters got 88 percent of screen time, despite comprising 60 percent of the population.\u003c/p>\n\u003cp>The study doesn’t offer many clues as to why the diversity issues play out the way they do. Nielsen, which sells its ratings services to media companies, didn’t name specific shows or media platforms which may be among the worst offenders or best performers.\u003c/p>\n\u003cp>But company officials said the study does indicate areas where inclusion and diversity work should be focused, as the audience demands media depictions which better reflect the world they live in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The content we consume should reflect the growing diversity of our country, and we know that diverse audiences look for diverse content,” wrote David Kenney, Nielsen CEO and Chief Diversity Officer, in the study’s foreword. “As our nation’s demographic become more diverse, the call for more authentic content, reflecting real people and real life, is louder than ever.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=More+Evidence+TV+Doesn%27t+Reflect+Real+Life+Diversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 574,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705019767,
"excerpt": "A new Nielsen study shows that white characters get 88% of cable screen time, despite comprising 60% of the population.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new Nielsen study shows that white characters get 88% of cable screen time, despite comprising 60% of the population.",
"title": "More Evidence Emerges That TV Doesn't Reflect Real Life Diversity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "More Evidence Emerges That TV Doesn't Reflect Real Life Diversity",
"datePublished": "2020-12-04T10:23:59-08:00",
"dateModified": "2024-01-11T16:36:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "more-evidence-emerges-that-tv-doesnt-reflect-real-life-diversity",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=942574850&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 04 Dec 2020 05:00:28 -0500",
"nprLastModifiedDate": "Fri, 04 Dec 2020 05:00:28 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/12/04/942574850/more-evidence-tv-doesnt-reflect-real-life-diversity?ft=nprml&f=942574850",
"nprImageAgency": "POPTV",
"nprStoryId": "942574850",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Nicole Wilder",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 04 Dec 2020 05:00:00 -0500",
"path": "/arts/13890000/more-evidence-emerges-that-tv-doesnt-reflect-real-life-diversity",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you have the sense you’re seeing fewer women on TV than you encounter in everyday life, a new study by the Nielsen company may offer an explanation.\u003c/p>\n\u003cp>The study is titled \u003ca href=\"https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/\" target=\"_blank\" rel=\"noopener noreferrer\">“Being Seen On Screen: Diverse Representation and Inclusion on TV.”\u003c/a>\u003c/p>\n\u003cp>Researchers at Nielsen, the company which also provides TV viewership ratings, looked at the top 100 TV shows each in broadcast, cable and streaming, excluding sports, movies and animated shows.\u003c/p>\n\u003cp>In an analysis of diversity and inclusion among those 300 programs in 2019, Nielsen found women, Native Americans and Latinx people were among the most underrepresented groups relative to their numbers in the general population.\u003c/p>\n\u003cp>For example, women make up 52 percent of the U.S. population, but they show up onscreen 37.9 percent of the time, according to Nielsen’s study. It uses a metric called “share of screen”—the percentage of time members of specific groups appear as recurring cast members—to measure how often TV viewers actually see these types of people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The numbers get worse for women over age 50. This group is 20 percent of the population, but only gets 8 percent of screen time. Men over age 50, who are 17 percent of the population, get a 14 percent share of screen time—closer to their actual numbers in real life.\u003c/p>\n\u003cp>Latinos and non-white Hispanics were among the most underrepresented non-white racial groups—a trend also noted in other studies about \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/08/06/338324139/why-arent-top-films-diverse-as-the-real-world-they-miss-hispanics\" target=\"_blank\" rel=\"noopener noreferrer\">diversity in Hollywood.\u003c/a>\u003c/p>\n\u003cp>Nielsen found this disparity was consistent across broadcast, cable and streaming services, drawing a total 5.5 percent of screen time, though they are 18.8 percent of the population.\u003c/p>\n\u003cp>Native Americans’ share of screen time was less than one quarter of their presence in the population, totaling just .4 percent across broadcast, cable and streaming.\u003c/p>\n\u003cp>Black people—whose depictions in media became a focus of concern amid the worldwide reckoning over civil rights this summer—were actually slightly overrepresented with 18.1 percent of screen time, while comprising 14 percent of the population.\u003c/p>\n\u003cp>Nielsen found a TV landscape where representation has risen for some groups, as the number of media platforms continually increase and viewers look for content that tells their stories.\u003c/p>\n\u003cp>But overall, many groups who are marginalized in the real world remain underrepresented in media depictions—especially on cable TV, where white characters got 88 percent of screen time, despite comprising 60 percent of the population.\u003c/p>\n\u003cp>The study doesn’t offer many clues as to why the diversity issues play out the way they do. Nielsen, which sells its ratings services to media companies, didn’t name specific shows or media platforms which may be among the worst offenders or best performers.\u003c/p>\n\u003cp>But company officials said the study does indicate areas where inclusion and diversity work should be focused, as the audience demands media depictions which better reflect the world they live in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The content we consume should reflect the growing diversity of our country, and we know that diverse audiences look for diverse content,” wrote David Kenney, Nielsen CEO and Chief Diversity Officer, in the study’s foreword. “As our nation’s demographic become more diverse, the call for more authentic content, reflecting real people and real life, is louder than ever.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=More+Evidence+TV+Doesn%27t+Reflect+Real+Life+Diversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890000/more-evidence-emerges-that-tv-doesnt-reflect-real-life-diversity",
"authors": [
"byline_arts_13890000"
],
"categories": [
"arts_1",
"arts_990"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890001",
"label": "arts_137"
},
"arts_13889904": {
"type": "posts",
"id": "arts_13889904",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889904",
"score": null,
"sort": [
1607024882000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1607024882,
"format": "standard",
"title": "HBO's 'Industry' Features the Most Fascinating Character on TV Right Now",
"headTitle": "HBO’s ‘Industry’ Features the Most Fascinating Character on TV Right Now | KQED",
"content": "\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PbM84z4XYgc\u003c/p>\n\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1560,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705019780,
"excerpt": "Harper, played by Myha'la Herrold, has shades of Annalise Keating in 'How to Get Away With Murder' and Shiv Roy in 'Succession.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Harper, played by Myha'la Herrold, has shades of Annalise Keating in 'How to Get Away With Murder' and Shiv Roy in 'Succession.'",
"title": "HBO's 'Industry' Features the Most Fascinating Character on TV Right Now | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "HBO's 'Industry' Features the Most Fascinating Character on TV Right Now",
"datePublished": "2020-12-03T11:48:02-08:00",
"dateModified": "2024-01-11T16:36:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hbos-industry-features-the-most-fascinating-character-on-tv-right-now",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=941425173&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 03 Dec 2020 05:00:49 -0500",
"nprLastModifiedDate": "Thu, 03 Dec 2020 05:19:21 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now?ft=nprml&f=941425173",
"nprImageAgency": "HBO",
"nprStoryId": "941425173",
"nprByline": "Aisha Harris",
"sticky": false,
"nprImageCredit": "Amanda Searle",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 03 Dec 2020 05:00:00 -0500",
"path": "/arts/13889904/hbos-industry-features-the-most-fascinating-character-on-tv-right-now",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\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>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\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/PbM84z4XYgc'\n title='//www.youtube.com/embed/PbM84z4XYgc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\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>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889904/hbos-industry-features-the-most-fascinating-character-on-tv-right-now",
"authors": [
"byline_arts_13889904"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_8350"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889906",
"label": "arts_137"
},
"arts_13889643": {
"type": "posts",
"id": "arts_13889643",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889643",
"score": null,
"sort": [
1606245634000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1606245634,
"format": "standard",
"title": "Ken Jennings: Who is 1st 'Jeopardy!' Guest Host?",
"headTitle": "Ken Jennings: Who is 1st ‘Jeopardy!’ Guest Host? | KQED",
"content": "\u003cp>Former\u003cem> Jeopardy!\u003c/em> champion, author and know-it-all kind of guy, Ken Jennings, will be the first guest host of the long-running trivia game show, officials said Monday.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/Jeopardy/status/1330996342865293313\" target=\"_blank\" rel=\"noopener noreferrer\">announcement\u003c/a>, two weeks after much-loved host Alex Trebek died of pancreatic cancer on Nov. 8, explained that “a series of interim guest hosts from the Jeopardy! family” will take over the show, which Trebek hosted from 1984 until earlier this year.\u003c/p>\n\u003cp>“We will resume production on 11/30,” the show’s official Twitter account said, noting that additional guest hosts will be announced at a later time.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1330996342865293313\u003c/p>\n\u003cp>Jennings responded to the tweet with one of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There will only ever be one Alex Trebek, but I’m honored to be helping Jeopardy! out with this in January,” he \u003ca href=\"https://twitter.com/KenJennings/status/1331003293674323970\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>.\u003c/p>\n\u003cp>Jennings made show history after winning 74 straight games in 2004 and into 2005. The record-breaking streak earned him $\u003ca href=\"https://6abc.com/alex-trebek-jeopardt-jeopardy-tournament-james-holzhauer-back-on/5705003/\" target=\"_blank\" rel=\"noopener noreferrer\">3,370,700\u003c/a>. (Brad Rutter is the highest money winner of all time across any television game show, with total \u003cem>Jeopardy! \u003c/em>winnings of $4,688,436, according to \u003ca href=\"https://6abc.com/alex-trebek-jeopardt-jeopardy-tournament-james-holzhauer-back-on/5705003/\" target=\"_blank\" rel=\"noopener noreferrer\">ABC News\u003c/a>.)\u003c/p>\n\u003cp>Years later, Jennings \u003ca href=\"https://www.npr.org/blogs/thetwo-way/2011/01/13/132902908/are-you-smarter-than-a-computer-the-size-of-10-refrigerators\" target=\"_blank\" rel=\"noopener noreferrer\">took on Watson\u003c/a>, an IBM supercomputer the size of 10 refrigerators. In the televised version of man versus machine, machine won.\u003c/p>\n\u003cp>“Alex believed in the importance of \u003cem>Jeopardy!\u003c/em> and always said that he wanted the show to go on after him. We will honor his legacy by continuing to produce the show he loved,” executive producer Mike Richards said.\u003c/p>\n\u003cp>Trebek’s more than three decades at the helm of the program earned him a spot in the \u003cem>Guinness Book of World Records\u003c/em> for most game show episodes hosted by the same presenter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A permanent replacement host for Trebek has yet to be named.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Ken+Jennings%3A+Who+Is+1st+%27Jeopardy%21%27+Guest+Host%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 314,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705019811,
"excerpt": "\"There will only ever be one Alex Trebek,\" noted new guest host Ken Jennings, one of the show's all-time top winners.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""There will only ever be one Alex Trebek," noted new guest host Ken Jennings, one of the show's all-time top winners.",
"title": "Ken Jennings: Who is 1st 'Jeopardy!' Guest Host? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ken Jennings: Who is 1st 'Jeopardy!' Guest Host?",
"datePublished": "2020-11-24T11:20:34-08:00",
"dateModified": "2024-01-11T16:36:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ken-jennings-who-is-1st-jeopardy-guest-host",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=938282727&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Vanessa Romo",
"nprStoryDate": "Tue, 24 Nov 2020 00:04:17 -0500",
"nprLastModifiedDate": "Tue, 24 Nov 2020 11:36:43 -0500",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2020/11/24/938282727/ken-jennings-who-is-first-jeopardy-guest-host?ft=nprml&f=938282727",
"nprImageAgency": "Jeopardy! via AP",
"nprStoryId": "938282727",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 24 Nov 2020 11:36:00 -0500",
"path": "/arts/13889643/ken-jennings-who-is-1st-jeopardy-guest-host",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former\u003cem> Jeopardy!\u003c/em> champion, author and know-it-all kind of guy, Ken Jennings, will be the first guest host of the long-running trivia game show, officials said Monday.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/Jeopardy/status/1330996342865293313\" target=\"_blank\" rel=\"noopener noreferrer\">announcement\u003c/a>, two weeks after much-loved host Alex Trebek died of pancreatic cancer on Nov. 8, explained that “a series of interim guest hosts from the Jeopardy! family” will take over the show, which Trebek hosted from 1984 until earlier this year.\u003c/p>\n\u003cp>“We will resume production on 11/30,” the show’s official Twitter account said, noting that additional guest hosts will be announced at a later time.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1330996342865293313"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Jennings responded to the tweet with one of his own.\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>“There will only ever be one Alex Trebek, but I’m honored to be helping Jeopardy! out with this in January,” he \u003ca href=\"https://twitter.com/KenJennings/status/1331003293674323970\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>.\u003c/p>\n\u003cp>Jennings made show history after winning 74 straight games in 2004 and into 2005. The record-breaking streak earned him $\u003ca href=\"https://6abc.com/alex-trebek-jeopardt-jeopardy-tournament-james-holzhauer-back-on/5705003/\" target=\"_blank\" rel=\"noopener noreferrer\">3,370,700\u003c/a>. (Brad Rutter is the highest money winner of all time across any television game show, with total \u003cem>Jeopardy! \u003c/em>winnings of $4,688,436, according to \u003ca href=\"https://6abc.com/alex-trebek-jeopardt-jeopardy-tournament-james-holzhauer-back-on/5705003/\" target=\"_blank\" rel=\"noopener noreferrer\">ABC News\u003c/a>.)\u003c/p>\n\u003cp>Years later, Jennings \u003ca href=\"https://www.npr.org/blogs/thetwo-way/2011/01/13/132902908/are-you-smarter-than-a-computer-the-size-of-10-refrigerators\" target=\"_blank\" rel=\"noopener noreferrer\">took on Watson\u003c/a>, an IBM supercomputer the size of 10 refrigerators. In the televised version of man versus machine, machine won.\u003c/p>\n\u003cp>“Alex believed in the importance of \u003cem>Jeopardy!\u003c/em> and always said that he wanted the show to go on after him. We will honor his legacy by continuing to produce the show he loved,” executive producer Mike Richards said.\u003c/p>\n\u003cp>Trebek’s more than three decades at the helm of the program earned him a spot in the \u003cem>Guinness Book of World Records\u003c/em> for most game show episodes hosted by the same presenter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A permanent replacement host for Trebek has yet to be named.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Ken+Jennings%3A+Who+Is+1st+%27Jeopardy%21%27+Guest+Host%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889643/ken-jennings-who-is-1st-jeopardy-guest-host",
"authors": [
"byline_arts_13889643"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_11688"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889644",
"label": "arts_137"
},
"arts_13889581": {
"type": "posts",
"id": "arts_13889581",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889581",
"score": null,
"sort": [
1606241322000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1606241322,
"format": "standard",
"title": "‘Dolly Parton’s Christmas On the Square’: A Minute-By-Minute Analysis",
"headTitle": "‘Dolly Parton’s Christmas On the Square’: A Minute-By-Minute Analysis | KQED",
"content": "\u003cp>Not content with co-funding a vaccine in the middle of a pandemic—no, really, that’s \u003ca href=\"https://www.usatoday.com/story/news/factcheck/2020/11/21/fact-check-dolly-parton-donated-modernas-covid-19-vaccine-studies/6373339002/\" target=\"_blank\" rel=\"noopener noreferrer\">a thing\u003c/a> she just did—Dolly Parton just finally put out a seasonal television event that she appears in for longer than five minutes. (It’s a Christmas miracle!)\u003c/p>\n\u003cp>Naturally, I felt compelled to watch \u003cem>\u003ca href=\"https://www.netflix.com/title/81128934\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas on the Square\u003c/a>\u003c/em> and report back, minute-by-schmaltzy-minute, for all those (like me) who love Dolly Parton but passionately hate musicals. Now at least you’ll know exactly what you’re dealing with. (And yes, that means spoilers…)\u003c/p>\n\u003cp>\u003cstrong>0:01:\u003c/strong> The movie opens with our hero, Dolly Parton, dressed like she’s down on her luck and asking for “Change” in the town square. She remains nonchalant despite being under attack from what looks like a rogue team of fireflies.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13889590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Dolly-homeless-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:02:\u003c/strong> The opening musical number is like an over-zealous Old Navy commercial—full of colorful sweaters, a spectrum of ages, and what can only be described as multicultural scissor kicking.\u003c/p>\n\u003cfigure id=\"attachment_13889596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889596\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Old-Navy-1-800x447.png\" alt=\"Here, the Old Navy Dancers stop and openly gawk at a passing woman, like it's the 1950s and casual street objectification is still in style.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1.png 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Here, the Old Navy Dancers stop and openly gawk at a passing woman, like it’s the 1950s and casual street objectification is still in style.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:03:\u003c/strong> One man just sang to his daughter about thermal underwear and I have questions.\u003c/p>\n\u003cp>\u003cstrong>0:04:\u003c/strong> A silver fox with ‘Martin Sheen in \u003cem>Grace and Frankie\u003c/em>’ energy just showed up. Someone at Netflix is pushing this particular old man aesthetic \u003cem>hard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13889598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/mses-800x743.jpg\" alt=\"(L) Real Martin Sheen, in 'Grace and Frankie'; (R) Fake Martin Sheen in 'Christmas on the Square.'\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-1920x1782.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) Real Martin Sheen, in ‘Grace and Frankie’; (R) Fake Martin Sheen in ‘Christmas on the Square.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:05:\u003c/strong> “To the best Christmas gift we’ve ever given each other,” toasts a man named Pastor Christian who’s giving off distinctly gay vibes. Is the gift Dior? Tiffany? Cartier? Nope! “Getting fertility treatments is better than anything that comes with paper!” grins his wife. Did \u003cem>not\u003c/em> see that coming. On account of the gayness, you see.\u003c/p>\n\u003cfigure id=\"attachment_13889597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/grimace-800x399.png\" alt=\"\" width=\"800\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-800x399.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-1020x508.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-768x383.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace.png 1076w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is this, or is this not, the face of a gay man trying to pretend to be in love with a woman?\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:06:\u003c/strong> Town villain Regina (Christine Baranski) just rhymed “pastor” with “disaster” and I didn’t hate it.\u003c/p>\n\u003cp>\u003cstrong>0:06:\u003c/strong> Regina is selling the town to a conglomerate named (say it out loud so I know you get it) “Cheetah Mall.” (Oh dear God.)\u003c/p>\n\u003cp>\u003cstrong>0:07:\u003c/strong> Jenifer Lewis just showed up as local hairdresser, Margeline, and for the first time I have hope that I might get through this movie, sanity intact.\u003c/p>\n\u003cfigure id=\"attachment_13889602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Hair-1-800x443.png\" alt=\"Jenifer Lewis singing in her salon.\" width=\"800\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-800x443.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-1020x564.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-768x425.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-672x372.png 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1.png 1095w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sing it, Jen.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:07:\u003c/strong> “The higher the hair, the closer to the North Pole!” yells one of Margeline’s dancing boy-stylists. Dolly Parton definitely produced this musical.\u003c/p>\n\u003cp>\u003cstrong>0:09:\u003c/strong> Normal banking business is occurring while three randos casually tap dance in front of the tellers. (You don’t get \u003cem>this\u003c/em> at the Civic Center Chase branch…)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889601 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/tapping-800x441.png\" alt=\"\" width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-800x441.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-1020x563.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-768x424.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping.png 1104w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:10:\u003c/strong> Everyone demonstrates that they’ve been served eviction papers by \u003cem>walking with purpose\u003c/em> and also \u003cem>singing while frowning\u003c/em>. In all fairness to Regina, it would be exhausting to live in the same town as any of these people.\u003c/p>\n\u003cp>\u003cstrong>0:12:\u003c/strong> Gay Pastor and his wife are singing a love song (to each other, surprisingly) in the square. Even while holding hands, singing “I love you,” and wrinkling their noses at each other, they have all the sexual chemistry of a tortoise trying to hump a rock.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13889603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-800x410.png\" alt=\"\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-800x410.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-160x82.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-768x394.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM.png 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:21:\u003c/strong> Margeline gives Regina bad hair in a fit of revenge for what she’s doing to the town. Dolly Parton definitely produced this musical.\u003c/p>\n\u003cp>\u003cstrong>0:22:\u003c/strong> Turns out that Fake Martin Sheen is Regina’s childhood sweetheart, Carl. Regina tells him to “just sign the deal,” and he replies, “Why didn’t you return my calls?” Probably because of your inability to stay on topic, Carl?\u003c/p>\n\u003cp>\u003cstrong>0:23:\u003c/strong> Okay, so this is also totally off-topic, but there’s a guy who keeps showing up in the background that I like to call The Extra Extra. He chews the scenery like he hasn’t eaten for months and \u003cem>Christmas on the Square\u003c/em> is an all-you-can-eat buffet. Here’s what he looks like literally all of the time.\u003c/p>\n\u003cfigure id=\"attachment_13889614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Extra-Extra-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of the Extra Extra’s finest moments.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:24:\u003c/strong> Regina says Fake Martin Sheen’s shop “isn’t even a general store anymore,” but rather a place filled with “broken dolls and broken dreams.” This prompts Fake Martin Sheen to start singing about random items in his store. It’s hard to focus on what he’s saying though because his hair looks \u003cem>amazing\u003c/em>. Dolly Parton definitely produced this musical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889604 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:29:\u003c/strong> Panhandler Dolly Parton tells Regina, “I’m gonna get change out of you, one way or the other!” If you’ve ever wanted to see a human woman flog to death the double meaning of the word ‘change,’ \u003cem>Christmas on the Square\u003c/em> is definitely the movie for you.\u003c/p>\n\u003cp>\u003cstrong>0:31:\u003c/strong> Regina can’t get her lights to turn on at home. Naturally, this prompts shimmering, dressed-in-all-white Dolly Parton to magically appear in her living room \u003cem>sitting on a cloud\u003c/em> and singing. Because—surprise!—she’s not really a panhandler, she’s an angel. (Way to steal the entire plot line of \u003ca href=\"https://www.imdb.com/title/tt0654961/?ref_=ttep_ep15\" target=\"_blank\" rel=\"noopener noreferrer\">Episode 15 of \u003cem>My So-Called Life\u003c/em>\u003c/a>, guys.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889605 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[Also: Dear PG&E, if you could just figure out how to create floating cloud Dolly Parton holograms and stick them in the homes of everyone dealing with a mandatory power outage, Californians would hate you much less. Just a thought.]\u003c/p>\n\u003cp>\u003cstrong>0:33:\u003c/strong> Dolly is singing a moving ballad about lighting lamps. She does this while circling the room on her cloud. It is as brilliant and unintentionally hilarious as it sounds.\u003c/p>\n\u003cp>\u003cstrong>0:37:\u003c/strong> During a church meeting, the entire town fantasizes about torturing and killing Regina. Lyrics include: “Maybe we’ll trip her / Maybe we’ll strip her (Oh Lord, don’t do that!) / Maybe we’ll just throw her on the griddle!” Yes, yes. Let’s get our church group together and cook this woman alive shall we?!\u003c/p>\n\u003cfigure id=\"attachment_13889606\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Church-murder-800x462.png\" alt=\"\" width=\"800\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder-800x462.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder-768x444.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder.png 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">These people are plotting the death of a human being. Including that l’il Fred Savage/Ralph Macchio hybrid in the middle there.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:43:\u003c/strong> Random townspeople keep getting up in church and sing-speaking their thoughts. It turns out that when this guy in the middle (↓) isn’t singing about thermal underwear and premeditated murder, he foin.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13889607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-800x451.png\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM.png 1053w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:46:\u003c/strong> Everything happening in this church suddenly reminds me of the “\u003ca href=\"https://www.youtube.com/watch?v=9AjkUyX0rVw\" target=\"_blank\" rel=\"noopener noreferrer\">We Are The World\u003c/a>” video from 1985. Partially because everyone on screen just started holding hands and swaying awkwardly. And partially because I now know how Bob Dylan was feeling when he was caught on camera doing this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJymBJ_5iUg\u003c/p>\n\u003cp>\u003cstrong>0:48:\u003c/strong> Regina pays a visit to the local tavern, the Jolly Lamplighter. Eight-year-old daughter of Sexy Singing Guy offers Regina a whiskey. Regina says, “Aren’t you a little young to be a bartender?” The child replies, “I’m an old soul.” Seems legit. Nothing to see here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889619 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM.png\" alt=\"\" width=\"792\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM.png 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM-768x444.png 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003c/p>\n\u003cp>\u003cstrong>0:50:\u003c/strong> Kid Bartender has a minor existential crisis in song form over her dead mom, before breaking the news to Regina that Regina’s cruelty is, in a roundabout way, responsible for her mom’s death. Regina goes home and has a flashback about her own dad. There are lamps involved. It is hard to care about any of it.\u003c/p>\n\u003cp>\u003cstrong>0:56:\u003c/strong> I’ve just noticed that Regina’s personal assistant is played by \u003cem>So You Think You Can Dance\u003c/em> Season 5 winner, Jeanine Mason. We come to find out that Jeanine’s character is also an angel in training. Which conveniently makes space for a gratuitous ballet practice scene in which Angel (did I mention Dolly Parton’s character is literally named Angel?) makes her dance. The ballet is, like, totally a metaphor, you guys, and not at all just an excuse to give Jeanine a dance solo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889609 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-800x442.png\" alt=\"\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-800x442.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-1020x564.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-768x425.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-672x372.png 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM.png 1103w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>1:04:\u003c/strong> Time for a fairly insufferable 1970s high school dance flashback where Young Regina dances with a dude wearing the worst shirt in history and somehow gets pregnant from doing so. Regina’s dad, fearful of the judgment of the townspeople, forces her to give up the baby. That’s why, all these years later, Regina is dead inside and mad at the whole town. This guy’s shirt.\u003c/p>\n\u003cfigure id=\"attachment_13889610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-800x538.png\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM.png 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">I just asked my mother and she told me that at no point, even during the 1970s, was this shirt acceptable.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:08:\u003c/strong> Kid Bartender has been in an accident so half the town goes and stands in the hospital parking lot looking sad. Regina finds herself inspired to pray and offers to give up her life in exchange for Kid Bartender’s. (Holy crap, that must have been a good drink.)\u003c/p>\n\u003cp>\u003cstrong>1:14:\u003c/strong> Regina goes to see Fake Martin Sheen and asks for a lantern that belonged to her father that he’s been hoarding. He’s like, “Sure, whatever, one less thing to pack, ya bish.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>1:18:\u003c/strong> Dolly Parton sings a heartfelt ballad about how magic (and psychic!) angels are, and runs around doing good deeds. She wakes Kid Bartender up in the hospital! And then she impregnates Gay Pastor’s wife! (Which is handy since he probably wasn’t up to the task of DIYing that whole sitch.)\u003c/p>\n\u003cfigure id=\"attachment_13889611\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-800x468.png\" alt=\"In Dolly Parton Christmas movies, you can get pregnant when she looks at you through a window.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-800x468.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM.png 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is how you get pregnant in Dolly Parton Christmas movies.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:22:\u003c/strong> Regina finds a bible hidden in her dad’s lantern and it tells her that the child he forced her to give up for adoption is, in fact, Gay Pastor.\u003c/p>\n\u003cp>\u003cstrong>1:27:\u003c/strong> Regina breaks the news to Gay Pastor that he is her son. She says: “It’s written in a bible so it must be true.” What super-fun logic to still be carrying around in 2020!\u003c/p>\n\u003cp>\u003cstrong>1:30:\u003c/strong> Gay Pastor breaks the news about his long-lost mom to the church congregation. As he leads Regina up the aisle, Dolly Parton sprouts wings and sings high above the altar. This movie is completely out of control.\u003c/p>\n\u003cfigure id=\"attachment_13889612\" class=\"wp-caption alignnone\" style=\"max-width: 787px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM.png\" alt=\"\" width=\"787\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM.png 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM-672x372.png 672w\" sizes=\"(max-width: 787px) 100vw, 787px\">\u003cfigcaption class=\"wp-caption-text\">K.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:34:\u003c/strong> Regina announces that she’s not selling the town after all and she promises to keep everyone’s rents low. This prompts the Old Navy dancers to strike up the scissor kicks once again and backflip their way back to the square.\u003c/p>\n\u003cp>\u003cstrong>1:36:\u003c/strong> Jeanine from \u003cem>So You Think You Can Dance\u003c/em> becomes an angel and hangs out with Dolly at the top of a clock tower.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889613 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.47.44-PM.png\" alt=\"\" width=\"626\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.47.44-PM.png 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.47.44-PM-160x128.png 160w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003c/p>\n\u003cp>The End.\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Christmas on the Square’ is streaming right now on \u003ca href=\"https://www.netflix.com/title/81128934\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>. Those of you who like Jesus and/or weed will like it better than the rest of us.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1865,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 50
},
"modified": 1705019814,
"excerpt": "Angel Dolly! An 8-year-old bartender! An entire church of aspiring murderers! 'Christmas on the Square' is completely bananas. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Angel Dolly! An 8-year-old bartender! An entire church of aspiring murderers! 'Christmas on the Square' is completely bananas. ",
"title": "‘Dolly Parton’s Christmas On the Square’: A Minute-By-Minute Analysis | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dolly Parton’s Christmas On the Square’: A Minute-By-Minute Analysis",
"datePublished": "2020-11-24T10:08:42-08:00",
"dateModified": "2024-01-11T16:36:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dolly-partons-christmas-on-the-square-a-minute-by-minute-analysis",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13889581/dolly-partons-christmas-on-the-square-a-minute-by-minute-analysis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not content with co-funding a vaccine in the middle of a pandemic—no, really, that’s \u003ca href=\"https://www.usatoday.com/story/news/factcheck/2020/11/21/fact-check-dolly-parton-donated-modernas-covid-19-vaccine-studies/6373339002/\" target=\"_blank\" rel=\"noopener noreferrer\">a thing\u003c/a> she just did—Dolly Parton just finally put out a seasonal television event that she appears in for longer than five minutes. (It’s a Christmas miracle!)\u003c/p>\n\u003cp>Naturally, I felt compelled to watch \u003cem>\u003ca href=\"https://www.netflix.com/title/81128934\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas on the Square\u003c/a>\u003c/em> and report back, minute-by-schmaltzy-minute, for all those (like me) who love Dolly Parton but passionately hate musicals. Now at least you’ll know exactly what you’re dealing with. (And yes, that means spoilers…)\u003c/p>\n\u003cp>\u003cstrong>0:01:\u003c/strong> The movie opens with our hero, Dolly Parton, dressed like she’s down on her luck and asking for “Change” in the town square. She remains nonchalant despite being under attack from what looks like a rogue team of fireflies.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13889590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Dolly-homeless-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Dolly-homeless.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:02:\u003c/strong> The opening musical number is like an over-zealous Old Navy commercial—full of colorful sweaters, a spectrum of ages, and what can only be described as multicultural scissor kicking.\u003c/p>\n\u003cfigure id=\"attachment_13889596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889596\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Old-Navy-1-800x447.png\" alt=\"Here, the Old Navy Dancers stop and openly gawk at a passing woman, like it's the 1950s and casual street objectification is still in style.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Old-Navy-1.png 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Here, the Old Navy Dancers stop and openly gawk at a passing woman, like it’s the 1950s and casual street objectification is still in style.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:03:\u003c/strong> One man just sang to his daughter about thermal underwear and I have questions.\u003c/p>\n\u003cp>\u003cstrong>0:04:\u003c/strong> A silver fox with ‘Martin Sheen in \u003cem>Grace and Frankie\u003c/em>’ energy just showed up. Someone at Netflix is pushing this particular old man aesthetic \u003cem>hard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13889598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/mses-800x743.jpg\" alt=\"(L) Real Martin Sheen, in 'Grace and Frankie'; (R) Fake Martin Sheen in 'Christmas on the Square.'\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/mses-1920x1782.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) Real Martin Sheen, in ‘Grace and Frankie’; (R) Fake Martin Sheen in ‘Christmas on the Square.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:05:\u003c/strong> “To the best Christmas gift we’ve ever given each other,” toasts a man named Pastor Christian who’s giving off distinctly gay vibes. Is the gift Dior? Tiffany? Cartier? Nope! “Getting fertility treatments is better than anything that comes with paper!” grins his wife. Did \u003cem>not\u003c/em> see that coming. On account of the gayness, you see.\u003c/p>\n\u003cfigure id=\"attachment_13889597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/grimace-800x399.png\" alt=\"\" width=\"800\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-800x399.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-1020x508.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace-768x383.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/grimace.png 1076w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is this, or is this not, the face of a gay man trying to pretend to be in love with a woman?\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:06:\u003c/strong> Town villain Regina (Christine Baranski) just rhymed “pastor” with “disaster” and I didn’t hate it.\u003c/p>\n\u003cp>\u003cstrong>0:06:\u003c/strong> Regina is selling the town to a conglomerate named (say it out loud so I know you get it) “Cheetah Mall.” (Oh dear God.)\u003c/p>\n\u003cp>\u003cstrong>0:07:\u003c/strong> Jenifer Lewis just showed up as local hairdresser, Margeline, and for the first time I have hope that I might get through this movie, sanity intact.\u003c/p>\n\u003cfigure id=\"attachment_13889602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Hair-1-800x443.png\" alt=\"Jenifer Lewis singing in her salon.\" width=\"800\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-800x443.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-1020x564.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-768x425.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-672x372.png 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Hair-1.png 1095w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sing it, Jen.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:07:\u003c/strong> “The higher the hair, the closer to the North Pole!” yells one of Margeline’s dancing boy-stylists. Dolly Parton definitely produced this musical.\u003c/p>\n\u003cp>\u003cstrong>0:09:\u003c/strong> Normal banking business is occurring while three randos casually tap dance in front of the tellers. (You don’t get \u003cem>this\u003c/em> at the Civic Center Chase branch…)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889601 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/tapping-800x441.png\" alt=\"\" width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-800x441.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-1020x563.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping-768x424.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/tapping.png 1104w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:10:\u003c/strong> Everyone demonstrates that they’ve been served eviction papers by \u003cem>walking with purpose\u003c/em> and also \u003cem>singing while frowning\u003c/em>. In all fairness to Regina, it would be exhausting to live in the same town as any of these people.\u003c/p>\n\u003cp>\u003cstrong>0:12:\u003c/strong> Gay Pastor and his wife are singing a love song (to each other, surprisingly) in the square. Even while holding hands, singing “I love you,” and wrinkling their noses at each other, they have all the sexual chemistry of a tortoise trying to hump a rock.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13889603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-800x410.png\" alt=\"\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-800x410.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-160x82.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM-768x394.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.33.19-PM.png 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:21:\u003c/strong> Margeline gives Regina bad hair in a fit of revenge for what she’s doing to the town. Dolly Parton definitely produced this musical.\u003c/p>\n\u003cp>\u003cstrong>0:22:\u003c/strong> Turns out that Fake Martin Sheen is Regina’s childhood sweetheart, Carl. Regina tells him to “just sign the deal,” and he replies, “Why didn’t you return my calls?” Probably because of your inability to stay on topic, Carl?\u003c/p>\n\u003cp>\u003cstrong>0:23:\u003c/strong> Okay, so this is also totally off-topic, but there’s a guy who keeps showing up in the background that I like to call The Extra Extra. He chews the scenery like he hasn’t eaten for months and \u003cem>Christmas on the Square\u003c/em> is an all-you-can-eat buffet. Here’s what he looks like literally all of the time.\u003c/p>\n\u003cfigure id=\"attachment_13889614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Extra-Extra-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Extra-Extra-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of the Extra Extra’s finest moments.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:24:\u003c/strong> Regina says Fake Martin Sheen’s shop “isn’t even a general store anymore,” but rather a place filled with “broken dolls and broken dreams.” This prompts Fake Martin Sheen to start singing about random items in his store. It’s hard to focus on what he’s saying though because his hair looks \u003cem>amazing\u003c/em>. Dolly Parton definitely produced this musical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889604 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.37.35-PM.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:29:\u003c/strong> Panhandler Dolly Parton tells Regina, “I’m gonna get change out of you, one way or the other!” If you’ve ever wanted to see a human woman flog to death the double meaning of the word ‘change,’ \u003cem>Christmas on the Square\u003c/em> is definitely the movie for you.\u003c/p>\n\u003cp>\u003cstrong>0:31:\u003c/strong> Regina can’t get her lights to turn on at home. Naturally, this prompts shimmering, dressed-in-all-white Dolly Parton to magically appear in her living room \u003cem>sitting on a cloud\u003c/em> and singing. Because—surprise!—she’s not really a panhandler, she’s an angel. (Way to steal the entire plot line of \u003ca href=\"https://www.imdb.com/title/tt0654961/?ref_=ttep_ep15\" target=\"_blank\" rel=\"noopener noreferrer\">Episode 15 of \u003cem>My So-Called Life\u003c/em>\u003c/a>, guys.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889605 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/88531c6727732489fcab88437e422bd6e5-christmas-on-the-square-08.2x.rhorizontal.w700.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[Also: Dear PG&E, if you could just figure out how to create floating cloud Dolly Parton holograms and stick them in the homes of everyone dealing with a mandatory power outage, Californians would hate you much less. Just a thought.]\u003c/p>\n\u003cp>\u003cstrong>0:33:\u003c/strong> Dolly is singing a moving ballad about lighting lamps. She does this while circling the room on her cloud. It is as brilliant and unintentionally hilarious as it sounds.\u003c/p>\n\u003cp>\u003cstrong>0:37:\u003c/strong> During a church meeting, the entire town fantasizes about torturing and killing Regina. Lyrics include: “Maybe we’ll trip her / Maybe we’ll strip her (Oh Lord, don’t do that!) / Maybe we’ll just throw her on the griddle!” Yes, yes. Let’s get our church group together and cook this woman alive shall we?!\u003c/p>\n\u003cfigure id=\"attachment_13889606\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Church-murder-800x462.png\" alt=\"\" width=\"800\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder-800x462.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder-768x444.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Church-murder.png 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">These people are plotting the death of a human being. Including that l’il Fred Savage/Ralph Macchio hybrid in the middle there.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:43:\u003c/strong> Random townspeople keep getting up in church and sing-speaking their thoughts. It turns out that when this guy in the middle (↓) isn’t singing about thermal underwear and premeditated murder, he foin.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13889607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-800x451.png\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-4.53.50-PM.png 1053w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>0:46:\u003c/strong> Everything happening in this church suddenly reminds me of the “\u003ca href=\"https://www.youtube.com/watch?v=9AjkUyX0rVw\" target=\"_blank\" rel=\"noopener noreferrer\">We Are The World\u003c/a>” video from 1985. Partially because everyone on screen just started holding hands and swaying awkwardly. And partially because I now know how Bob Dylan was feeling when he was caught on camera doing this:\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/cJymBJ_5iUg'\n title='//www.youtube.com/embed/cJymBJ_5iUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>0:48:\u003c/strong> Regina pays a visit to the local tavern, the Jolly Lamplighter. Eight-year-old daughter of Sexy Singing Guy offers Regina a whiskey. Regina says, “Aren’t you a little young to be a bartender?” The child replies, “I’m an old soul.” Seems legit. Nothing to see here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889619 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM.png\" alt=\"\" width=\"792\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM.png 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-6.55.20-PM-768x444.png 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003c/p>\n\u003cp>\u003cstrong>0:50:\u003c/strong> Kid Bartender has a minor existential crisis in song form over her dead mom, before breaking the news to Regina that Regina’s cruelty is, in a roundabout way, responsible for her mom’s death. Regina goes home and has a flashback about her own dad. There are lamps involved. It is hard to care about any of it.\u003c/p>\n\u003cp>\u003cstrong>0:56:\u003c/strong> I’ve just noticed that Regina’s personal assistant is played by \u003cem>So You Think You Can Dance\u003c/em> Season 5 winner, Jeanine Mason. We come to find out that Jeanine’s character is also an angel in training. Which conveniently makes space for a gratuitous ballet practice scene in which Angel (did I mention Dolly Parton’s character is literally named Angel?) makes her dance. The ballet is, like, totally a metaphor, you guys, and not at all just an excuse to give Jeanine a dance solo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889609 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-800x442.png\" alt=\"\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-800x442.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-1020x564.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-768x425.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM-672x372.png 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.07.19-PM.png 1103w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>1:04:\u003c/strong> Time for a fairly insufferable 1970s high school dance flashback where Young Regina dances with a dude wearing the worst shirt in history and somehow gets pregnant from doing so. Regina’s dad, fearful of the judgment of the townspeople, forces her to give up the baby. That’s why, all these years later, Regina is dead inside and mad at the whole town. This guy’s shirt.\u003c/p>\n\u003cfigure id=\"attachment_13889610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-800x538.png\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.18.02-PM.png 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">I just asked my mother and she told me that at no point, even during the 1970s, was this shirt acceptable.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:08:\u003c/strong> Kid Bartender has been in an accident so half the town goes and stands in the hospital parking lot looking sad. Regina finds herself inspired to pray and offers to give up her life in exchange for Kid Bartender’s. (Holy crap, that must have been a good drink.)\u003c/p>\n\u003cp>\u003cstrong>1:14:\u003c/strong> Regina goes to see Fake Martin Sheen and asks for a lantern that belonged to her father that he’s been hoarding. He’s like, “Sure, whatever, one less thing to pack, ya bish.”\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>\u003cstrong>1:18:\u003c/strong> Dolly Parton sings a heartfelt ballad about how magic (and psychic!) angels are, and runs around doing good deeds. She wakes Kid Bartender up in the hospital! And then she impregnates Gay Pastor’s wife! (Which is handy since he probably wasn’t up to the task of DIYing that whole sitch.)\u003c/p>\n\u003cfigure id=\"attachment_13889611\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-800x468.png\" alt=\"In Dolly Parton Christmas movies, you can get pregnant when she looks at you through a window.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-800x468.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.35.58-PM.png 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is how you get pregnant in Dolly Parton Christmas movies.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:22:\u003c/strong> Regina finds a bible hidden in her dad’s lantern and it tells her that the child he forced her to give up for adoption is, in fact, Gay Pastor.\u003c/p>\n\u003cp>\u003cstrong>1:27:\u003c/strong> Regina breaks the news to Gay Pastor that he is her son. She says: “It’s written in a bible so it must be true.” What super-fun logic to still be carrying around in 2020!\u003c/p>\n\u003cp>\u003cstrong>1:30:\u003c/strong> Gay Pastor breaks the news about his long-lost mom to the church congregation. As he leads Regina up the aisle, Dolly Parton sprouts wings and sings high above the altar. This movie is completely out of control.\u003c/p>\n\u003cfigure id=\"attachment_13889612\" class=\"wp-caption alignnone\" style=\"max-width: 787px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM.png\" alt=\"\" width=\"787\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM.png 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.39.03-PM-672x372.png 672w\" sizes=\"(max-width: 787px) 100vw, 787px\">\u003cfigcaption class=\"wp-caption-text\">K.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:34:\u003c/strong> Regina announces that she’s not selling the town after all and she promises to keep everyone’s rents low. This prompts the Old Navy dancers to strike up the scissor kicks once again and backflip their way back to the square.\u003c/p>\n\u003cp>\u003cstrong>1:36:\u003c/strong> Jeanine from \u003cem>So You Think You Can Dance\u003c/em> becomes an angel and hangs out with Dolly at the top of a clock tower.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889613 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.47.44-PM.png\" alt=\"\" width=\"626\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.47.44-PM.png 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-23-at-5.47.44-PM-160x128.png 160w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003c/p>\n\u003cp>The End.\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Christmas on the Square’ is streaming right now on \u003ca href=\"https://www.netflix.com/title/81128934\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>. Those of you who like Jesus and/or weed will like it better than the rest of us.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889581/dolly-partons-christmas-on-the-square-a-minute-by-minute-analysis",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_4088",
"arts_10342",
"arts_10278",
"arts_3324"
],
"featImg": "arts_13889182",
"label": "arts"
},
"arts_13889571": {
"type": "posts",
"id": "arts_13889571",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889571",
"score": null,
"sort": [
1605907717000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1605907717,
"format": "standard",
"title": "Can't Find A Chess Set? You Can Thank 'The Queen's Gambit' For That",
"headTitle": "Can’t Find A Chess Set? You Can Thank ‘The Queen’s Gambit’ For That | KQED",
"content": "\u003cp>Who could’ve predicted chess sets might become as difficult to find as toilet paper during the early weeks of the pandemic? Not Gerrick Johnson. The toy analyst with BMO Capital Markets found himself stymied while searching for a particular Cardinal chess set a few weeks ago.\u003c/p>\n\u003cp>“It was sold out everywhere I went,” he says.\u003c/p>\n\u003cp>Sales of chess sets have skyrocketed, says Mary Higbe, director of marketing at Goliath Games. The company sells six different kinds of chess sets, including those familiar red-boxed Pressman sets you’ve probably seen in the toy aisle at Walmart.\u003c/p>\n\u003cp>“Our October sales for chess were up 178% over the same period last year,” Higbe says. That’s a big increase. But something else unexpected happened at the end of the month. Now, she says, “our chess sales are up \u003cem>1,048%.\u003c/em>”\u003c/p>\n\u003cp>Every so often a game comes along that captures the popular imagination. In November 2020, that game is chess. The reason? A Netflix period drama that debuted in late October.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CDrieqwSdgI\u003c/p>\n\u003cp>“Ever since \u003cem>The Queen’s Gambit\u003c/em> launched, our chess sales have increased triple digits,” marvels Elizabeth LoVecchio, vice-president of marketing at Spin Master. The huge toy company has a division of classic games—such as chess, checkers and backgammon—that owns about 70% of the market share in the United States.\u003c/p>\n\u003cp>LoVecchio says sales of these games started spiking back when people first hunkered down last spring and played games with people in their bubbles to keep themselves entertained. But what’s happening with chess sales since \u003cem>The Queen’s Gambit \u003c/em>is “unprecedented—and we anticipate our sales rising further,” she adds.\u003c/p>\n\u003cp>Chess set sales are rising in the secondary market as well. eBay registered a 215% increase in chess set and accessory sales since \u003cem>The Queen’s Gambit\u003c/em> hit Netflix, with shoppers seeking out wooden chess sets nine times more than plastic, electronic or glass ones, according to an eBay spokesperson. Toy analyst Gerrick Johnson now warns that demand will outstrip supply.\u003c/p>\n\u003cp>“Six months ago, a year ago, these retailers weren’t saying, let’s load up on chess sets,” he notes. “Good luck finding a chess set this holiday!”\u003c/p>\n\u003cp>Both LoVecchio and Higbe agree a chess shortage may be added to 2020’s woes.\u003c/p>\n\u003cp>“Oh, for sure. I believe it,” Higbe says.\u003c/p>\n\u003cp>Chess has long been alluring, even dramatic. But \u003cem>The Queen’s Gambit \u003c/em>makes it seem accessible, Higbe adds. And that just adds to the appeal of a game that’s both eminently affordable and pleasingly different every time you play it.\u003c/p>\n\u003cp>“You have to have patience. You have to really think about strategy. You have to plan ahead,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Valuable skills for playing chess—and getting through the dark few months before us.\u003c/p>\n\u003cfigure id=\"attachment_13889573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_102_unit_01575rc-dcc43554f1f93051bfcc1f4d356e6ea0d29e807a-800x600.jpg\" alt=\"Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in 'The Queen's Gambit.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in ‘The Queen’s Gambit.’\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Can%27t+Find+A+Chess+Set%3F+You+Can+Thank+%27The+Queen%27s+Gambit%27+For+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 527,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705019818,
"excerpt": "Sales of chess sets spiked after the release of the hit Netflix show, and now toy analysts are warning of a shortage.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Sales of chess sets spiked after the release of the hit Netflix show, and now toy analysts are warning of a shortage.",
"title": "Can't Find A Chess Set? You Can Thank 'The Queen's Gambit' For That | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Can't Find A Chess Set? You Can Thank 'The Queen's Gambit' For That",
"datePublished": "2020-11-20T13:28:37-08:00",
"dateModified": "2024-01-11T16:36:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cant-find-a-chess-set-you-can-thank-the-queens-gambit-for-that",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=936732591&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 20 Nov 2020 05:04:00 -0500",
"nprLastModifiedDate": "Fri, 20 Nov 2020 07:59:13 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/11/20/936732591/cant-find-a-chess-set-you-can-thank-the-queens-gambit-for-that?ft=nprml&f=936732591",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/11/20201120_me_cant_find_a_chess_set_you_can_thank_the_queens_gambit_for_that.mp3?orgId=1&topicId=1008&d=150&p=3&story=936732591&ft=nprml&f=936732591",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1936973370-bde95b.m3u?orgId=1&topicId=1008&d=150&p=3&story=936732591&ft=nprml&f=936732591",
"nprStoryId": "936732591",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Phil Bray",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 20 Nov 2020 07:18:00 -0500",
"path": "/arts/13889571/cant-find-a-chess-set-you-can-thank-the-queens-gambit-for-that",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/11/20201120_me_cant_find_a_chess_set_you_can_thank_the_queens_gambit_for_that.mp3?orgId=1&topicId=1008&d=150&p=3&story=936732591&ft=nprml&f=936732591",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who could’ve predicted chess sets might become as difficult to find as toilet paper during the early weeks of the pandemic? Not Gerrick Johnson. The toy analyst with BMO Capital Markets found himself stymied while searching for a particular Cardinal chess set a few weeks ago.\u003c/p>\n\u003cp>“It was sold out everywhere I went,” he says.\u003c/p>\n\u003cp>Sales of chess sets have skyrocketed, says Mary Higbe, director of marketing at Goliath Games. The company sells six different kinds of chess sets, including those familiar red-boxed Pressman sets you’ve probably seen in the toy aisle at Walmart.\u003c/p>\n\u003cp>“Our October sales for chess were up 178% over the same period last year,” Higbe says. That’s a big increase. But something else unexpected happened at the end of the month. Now, she says, “our chess sales are up \u003cem>1,048%.\u003c/em>”\u003c/p>\n\u003cp>Every so often a game comes along that captures the popular imagination. In November 2020, that game is chess. The reason? A Netflix period drama that debuted in late October.\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/CDrieqwSdgI'\n title='//www.youtube.com/embed/CDrieqwSdgI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Ever since \u003cem>The Queen’s Gambit\u003c/em> launched, our chess sales have increased triple digits,” marvels Elizabeth LoVecchio, vice-president of marketing at Spin Master. The huge toy company has a division of classic games—such as chess, checkers and backgammon—that owns about 70% of the market share in the United States.\u003c/p>\n\u003cp>LoVecchio says sales of these games started spiking back when people first hunkered down last spring and played games with people in their bubbles to keep themselves entertained. But what’s happening with chess sales since \u003cem>The Queen’s Gambit \u003c/em>is “unprecedented—and we anticipate our sales rising further,” she adds.\u003c/p>\n\u003cp>Chess set sales are rising in the secondary market as well. eBay registered a 215% increase in chess set and accessory sales since \u003cem>The Queen’s Gambit\u003c/em> hit Netflix, with shoppers seeking out wooden chess sets nine times more than plastic, electronic or glass ones, according to an eBay spokesperson. Toy analyst Gerrick Johnson now warns that demand will outstrip supply.\u003c/p>\n\u003cp>“Six months ago, a year ago, these retailers weren’t saying, let’s load up on chess sets,” he notes. “Good luck finding a chess set this holiday!”\u003c/p>\n\u003cp>Both LoVecchio and Higbe agree a chess shortage may be added to 2020’s woes.\u003c/p>\n\u003cp>“Oh, for sure. I believe it,” Higbe says.\u003c/p>\n\u003cp>Chess has long been alluring, even dramatic. But \u003cem>The Queen’s Gambit \u003c/em>makes it seem accessible, Higbe adds. And that just adds to the appeal of a game that’s both eminently affordable and pleasingly different every time you play it.\u003c/p>\n\u003cp>“You have to have patience. You have to really think about strategy. You have to plan ahead,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Valuable skills for playing chess—and getting through the dark few months before us.\u003c/p>\n\u003cfigure id=\"attachment_13889573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_102_unit_01575rc-dcc43554f1f93051bfcc1f4d356e6ea0d29e807a-800x600.jpg\" alt=\"Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in 'The Queen's Gambit.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in ‘The Queen’s Gambit.’\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Can%27t+Find+A+Chess+Set%3F+You+Can+Thank+%27The+Queen%27s+Gambit%27+For+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889571/cant-find-a-chess-set-you-can-thank-the-queens-gambit-for-that",
"authors": [
"byline_arts_13889571"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_3324",
"arts_10416"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889572",
"label": "arts_137"
},
"arts_13889554": {
"type": "posts",
"id": "arts_13889554",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889554",
"score": null,
"sort": [
1605906347000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1605906347,
"format": "standard",
"title": "Pressure to Attend Thanksgiving? Send Your Family This Rachel Maddow Clip",
"headTitle": "Pressure to Attend Thanksgiving? Send Your Family This Rachel Maddow Clip | KQED",
"content": "\u003cp>Thanksgiving is rapidly approaching. And, this year, despite 253,000 dead Americans, clear \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/holidays/thanksgiving.html\" target=\"_blank\" rel=\"noopener noreferrer\">warnings from the CDC\u003c/a>, and more than a \u003ca href=\"https://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">million new U.S. coronavirus cases\u003c/a> a week, many of us are still fielding Thanksgiving invitations. Or, rather, trying to fend them off.\u003c/p>\n\u003cp>Saying no to spending holidays with family is tough on any normal year. But for those of us facing down multiple relatives who \u003cem>are\u003c/em> willing to travel, \u003cem>are\u003c/em> willing to break household pods and \u003cem>are\u003c/em> willing to eat maskless around a table without quarantining first, being the only one to say “no” can invite a lot of judgment and gaslighting.\u003c/p>\n\u003cp>Enter Rachel Maddow.\u003c/p>\n\u003cp>Last night, the MSNBC anchor shared an anecdote that should be enough to turn anyone off from travel and socializing for the forseeable future.\u003c/p>\n\u003cp>Broadcasting from home, Maddow shared the information that, two weeks ago, her partner of 21 years, Susan Mikula, tested positive for COVID-19. Maddow described nights spent awake, calling doctors over and over, and fighting to keep Mikula breathing. She described trying to care for the love of her life without physically being in the same room. Based on her delivery, the experience has left Maddow rattled and reevaluating priorities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Believe me, whatever you have calculated into your life as acceptable risk, inevitable risk, something that you’re willing to go through because, statistically, hey, it probably will be fine, I’m just here to tell you to recalibrate that,” she warned. “Frankly, the country needs you to recalibrate that because there’s no room for you in the hospital anymore.”\u003c/p>\n\u003cp>Maddow expressed some understanding for those who take risks with their own welfare in order to snatch a tiny slice of normal life back. But she also explained that, unfortunately, that’s not how coronavirus works. “I’m guessing that you might be willing to risk yourself. Especially after all these months and all this time. It’s so frustrating, right?” she said. “You don’t get to just say, ‘I’m willing to get this thing and play the odds.’ You don’t get that choice. It won’t necessarily be you. It’ll be the person you most care about in the world. How can you bear that?”\u003c/p>\n\u003cp>Maddow’s monologue is an important and timely reminder about why we all retreated into social pods back in March—and why we should still be staying in them. “All you can do is move heaven and Earth to not get it and not transmit it,” Maddow concluded. “This thing is scary as hell. Whatever you have been doing to risk getting it, don’t.”\u003c/p>\n\u003cp>You—and the relatives you think need to hear it—can listen to Maddow and Mikula’s story in full below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/MaddowBlog/status/1329613581621612551\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 499,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705019819,
"excerpt": "The host shared an emotional message with America last night after her partner of 21 years tested positive for COVID-19.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The host shared an emotional message with America last night after her partner of 21 years tested positive for COVID-19.",
"title": "Pressure to Attend Thanksgiving? Send Your Family This Rachel Maddow Clip | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pressure to Attend Thanksgiving? Send Your Family This Rachel Maddow Clip",
"datePublished": "2020-11-20T13:05:47-08:00",
"dateModified": "2024-01-11T16:36:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pressure-to-attend-thanksgiving-send-your-family-this-rachel-maddow-clip",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13889554/pressure-to-attend-thanksgiving-send-your-family-this-rachel-maddow-clip",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanksgiving is rapidly approaching. And, this year, despite 253,000 dead Americans, clear \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/holidays/thanksgiving.html\" target=\"_blank\" rel=\"noopener noreferrer\">warnings from the CDC\u003c/a>, and more than a \u003ca href=\"https://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">million new U.S. coronavirus cases\u003c/a> a week, many of us are still fielding Thanksgiving invitations. Or, rather, trying to fend them off.\u003c/p>\n\u003cp>Saying no to spending holidays with family is tough on any normal year. But for those of us facing down multiple relatives who \u003cem>are\u003c/em> willing to travel, \u003cem>are\u003c/em> willing to break household pods and \u003cem>are\u003c/em> willing to eat maskless around a table without quarantining first, being the only one to say “no” can invite a lot of judgment and gaslighting.\u003c/p>\n\u003cp>Enter Rachel Maddow.\u003c/p>\n\u003cp>Last night, the MSNBC anchor shared an anecdote that should be enough to turn anyone off from travel and socializing for the forseeable future.\u003c/p>\n\u003cp>Broadcasting from home, Maddow shared the information that, two weeks ago, her partner of 21 years, Susan Mikula, tested positive for COVID-19. Maddow described nights spent awake, calling doctors over and over, and fighting to keep Mikula breathing. She described trying to care for the love of her life without physically being in the same room. Based on her delivery, the experience has left Maddow rattled and reevaluating priorities.\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>“Believe me, whatever you have calculated into your life as acceptable risk, inevitable risk, something that you’re willing to go through because, statistically, hey, it probably will be fine, I’m just here to tell you to recalibrate that,” she warned. “Frankly, the country needs you to recalibrate that because there’s no room for you in the hospital anymore.”\u003c/p>\n\u003cp>Maddow expressed some understanding for those who take risks with their own welfare in order to snatch a tiny slice of normal life back. But she also explained that, unfortunately, that’s not how coronavirus works. “I’m guessing that you might be willing to risk yourself. Especially after all these months and all this time. It’s so frustrating, right?” she said. “You don’t get to just say, ‘I’m willing to get this thing and play the odds.’ You don’t get that choice. It won’t necessarily be you. It’ll be the person you most care about in the world. How can you bear that?”\u003c/p>\n\u003cp>Maddow’s monologue is an important and timely reminder about why we all retreated into social pods back in March—and why we should still be staying in them. “All you can do is move heaven and Earth to not get it and not transmit it,” Maddow concluded. “This thing is scary as hell. Whatever you have been doing to risk getting it, don’t.”\u003c/p>\n\u003cp>You—and the relatives you think need to hear it—can listen to Maddow and Mikula’s story in full below.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1329613581621612551"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889554/pressure-to-attend-thanksgiving-send-your-family-this-rachel-maddow-clip",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_235",
"arts_990"
],
"tags": [
"arts_10127",
"arts_10278",
"arts_10416",
"arts_6062"
],
"featImg": "arts_13889564",
"label": "arts"
},
"arts_13889483": {
"type": "posts",
"id": "arts_13889483",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889483",
"score": null,
"sort": [
1605819595000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1605819595,
"format": "standard",
"title": "Let's Talk About That Reconciliation During the 'Fresh Prince Reunion Special'",
"headTitle": "Let’s Talk About That Reconciliation During the ‘Fresh Prince Reunion Special’ | KQED",
"content": "\u003cp>The unspoken rules of gathering the cast of a beloved TV show for a reunion special are familiar: Gin up the nostalgia and warm, fuzzy feels. Montages and clip reels highlight the memorable onscreen moments from years past, as everyone jovially reminisces about the time spent playing and creating together on set. If a key member is absent because of behind-the-scenes drama or personal setbacks, try to avoid acknowledging they were ever a part of the show in the first place, and/or gloss over any tensions that might spoil the lovefest. Put on a happy face.\u003c/p>\n\u003cp>The \u003cem>Fresh Prince of Bel-Air Reunion Special\u003c/em>, now on HBO Max, follows this rule faithfully for more than half of its run time. Will Smith, Alfonso Ribeiro (Carlton Banks), Tatyana Ali (Ashley Banks), Karyn Parsons (Hilary Banks), Joseph Marcell (Jeffrey, the butler), Daphne Maxwell Reid (Aunt Viv #2) and DJ Jazzy Jeff sit on a recreation of the Banks family mansion set, recounting audition stories and favorite scenes in honor of the 30\u003csup>th\u003c/sup> anniversary of the hit sitcom’s premiere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ghMFFe2Q9hA\u003c/p>\n\u003cp>But then, right around the 45-minute mark (and immediately following a genuinely moving tribute to the late James Avery, who played the show’s indelible patriarch, Uncle Phil), this \u003cem>Fresh Prince \u003c/em>reunion dispenses with rules and pleasantries to address the giant elephant in the room—the \u003ca href=\"https://www.huffpost.com/entry/janet-hubert-will-smith-feud-fired_n_3249314\" target=\"_blank\" rel=\"noopener noreferrer\">highly publicized fallout\u003c/a> between Smith and Janet Hubert, who was unceremoniously replaced by Reid in her role as Aunt Viv in the show’s final three seasons. For the first time in 27 years, Smith and Hubert come together to clear the air.\u003c/p>\n\u003cp>“It felt like I couldn’t celebrate 30 years of \u003cem>Fresh Prince\u003c/em> without finding a way to celebrate Janet,” Smith tells his castmates, before showing them, and us, video of their pre-taped meeting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s most striking about their exchange is how familiar Hubert’s story is for women in the workplace. During Season 3 when she became pregnant, she says, she was facing challenges in her personal life (her then-husband was abusive and unemployed), which indirectly bled into how she approached her work on set. Hubert says this led to the much more powerful Smith painting her on set and in the media as someone who was “difficult” to work with, and that she was told he was responsible for her being forced out. When she was offered a new, restrictive contract—she would only work two and a half months out of the year, her salary would be cut, and she would be prohibited from accepting other jobs outside of \u003cem>Fresh Prince—\u003c/em>she refused to accept the offer. [aside postid='pop_108150']\u003c/p>\n\u003cp>Hubert points out that she was never “unprofessional” on set, only more reserved. It’s hard to hear such a revelation and not think of the many ways in which this echoes the corporate mindset of bosses who tout the workplace and colleagues as “family” so as to ignore the fact that, for their employees, this is their livelihood; they deserve to be paid a living wage, to have lives outside of work, to just be human. Smith and his other co-stars talk a lot about how much they enjoyed their experience on \u003cem>Fresh Prince \u003c/em>and how it didn’t feel like they were doing a job so much as they were part of a tight-knit family. That’s a heartwarming and admirable kind of environment to exist in, but it’s rarely the reality for everyone. And it doesn’t leave room for accepting that it’s OK to treat your job like it’s actually a job, too—especially if your mental health and well-being outside of work is suffering.\u003c/p>\n\u003cp>Hubert is candid and specific in how this mischaracterization of her attitude and work ethic tarnished her career, particularly as a dark-skinned woman: “Calling a black woman difficult in Hollywood is the kiss of death.” The actress Mo’Nique, among many others, can certainly attest to this, having said she’s been blackballed in the industry since refusing to campaign for \u003cem>Precious \u003c/em>without the promise of additional pay. (“We got labeled as ‘difficult’ because I said one word, and that was: ‘No,'” she \u003ca href=\"https://deadline.com/2019/02/steve-harvey-and-monique-get-into-tense-exchange-1202557010/\" target=\"_blank\" rel=\"noopener noreferrer\">told Steve Harvey last year\u003c/a>.)\u003c/p>\n\u003cp>For Smith’s part, he admits he was neither “sensitive” nor “perceptive” to Hubert’s troubles during her pregnancy, and seems genuinely contrite for how he treated her. He also notes that at the time he was still very young and immature, and that now, having been married with kids of his own, he’s grown to understand what she was up against at that time in her life.\u003c/p>\n\u003cp>But as Hubert gently but sternly notes, the damage was done, and while Will was able to move forward and achieve greater and greater success post-\u003cem>Fresh Prince\u003c/em>, she’s never had that chance. “You took all that away from me with your words. Words can kill.” It’s a harsh reminder of the power of perception, and how so many men are able to wield that power swiftly and devastatingly against women who don’t bend to their will.\u003c/p>\n\u003cp>There’s deep sadness to be felt in the profound loss, both for Hubert’s career and for the later seasons of \u003cem>Fresh Prince. \u003c/em>Her performance as Aunt Viv was groundbreaking in its depiction of a woman who looked like her possessing a range of emotions and attitudes on TV in that era. Hubert could easily glide between saucy and elegant and righteous, often in a single scene. [aside postid='pop_104883']\u003c/p>\n\u003cp>As unsettling as the circumstances of this conversation are, its existence here is also refreshing. For all of the enduring popularity of \u003cem>Fresh Prince\u003c/em> and the general goodwill Smith has managed to maintain in the decades since becoming one of Hollywood’s biggest movie stars, Hubert’s departure has long loomed over the show’s legacy. To address it so directly is a smart P.R. move on Smith’s part—if there’s any actor working today who exudes the need to please crowds and be liked by everyone, it’s him—but it also feels like exactly what Hubert needed in order to provide closure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And while they may never share the same strong ties as Smith has with the rest of his co-stars, she at least she seems at peace. For those few moments, funnily enough, the special feels like an actual family reunion with real stakes, as the estranged relatives awkwardly and uncomfortably confront one another, let it all out, and, finally and cathartically, reach reconciliation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Let%27s+Talk+About+That+Reconciliation+During+The+%27Fresh+Prince+Reunion+Special%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1175,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705019827,
"excerpt": "After years of bad blood in the public eye, Will Smith and Janet Hubert finally discussed her acrimonious departure from the show.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After years of bad blood in the public eye, Will Smith and Janet Hubert finally discussed her acrimonious departure from the show.",
"title": "Let's Talk About That Reconciliation During the 'Fresh Prince Reunion Special' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Let's Talk About That Reconciliation During the 'Fresh Prince Reunion Special'",
"datePublished": "2020-11-19T12:59:55-08:00",
"dateModified": "2024-01-11T16:37:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lets-talk-about-that-reconciliation-during-the-fresh-prince-reunion-special",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=936486077&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 19 Nov 2020 09:37:05 -0500",
"nprLastModifiedDate": "Thu, 19 Nov 2020 09:47:58 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/11/19/936486077/lets-talk-about-that-reconciliation-during-the-fresh-prince-reunion-special?ft=nprml&f=936486077",
"nprImageAgency": "HBO Max",
"nprStoryId": "936486077",
"nprByline": "Aisha Harris",
"sticky": false,
"nprImageCredit": "Saeed Adyani",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Nov 2020 09:47:00 -0500",
"path": "/arts/13889483/lets-talk-about-that-reconciliation-during-the-fresh-prince-reunion-special",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The unspoken rules of gathering the cast of a beloved TV show for a reunion special are familiar: Gin up the nostalgia and warm, fuzzy feels. Montages and clip reels highlight the memorable onscreen moments from years past, as everyone jovially reminisces about the time spent playing and creating together on set. If a key member is absent because of behind-the-scenes drama or personal setbacks, try to avoid acknowledging they were ever a part of the show in the first place, and/or gloss over any tensions that might spoil the lovefest. Put on a happy face.\u003c/p>\n\u003cp>The \u003cem>Fresh Prince of Bel-Air Reunion Special\u003c/em>, now on HBO Max, follows this rule faithfully for more than half of its run time. Will Smith, Alfonso Ribeiro (Carlton Banks), Tatyana Ali (Ashley Banks), Karyn Parsons (Hilary Banks), Joseph Marcell (Jeffrey, the butler), Daphne Maxwell Reid (Aunt Viv #2) and DJ Jazzy Jeff sit on a recreation of the Banks family mansion set, recounting audition stories and favorite scenes in honor of the 30\u003csup>th\u003c/sup> anniversary of the hit sitcom’s premiere.\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/ghMFFe2Q9hA'\n title='//www.youtube.com/embed/ghMFFe2Q9hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then, right around the 45-minute mark (and immediately following a genuinely moving tribute to the late James Avery, who played the show’s indelible patriarch, Uncle Phil), this \u003cem>Fresh Prince \u003c/em>reunion dispenses with rules and pleasantries to address the giant elephant in the room—the \u003ca href=\"https://www.huffpost.com/entry/janet-hubert-will-smith-feud-fired_n_3249314\" target=\"_blank\" rel=\"noopener noreferrer\">highly publicized fallout\u003c/a> between Smith and Janet Hubert, who was unceremoniously replaced by Reid in her role as Aunt Viv in the show’s final three seasons. For the first time in 27 years, Smith and Hubert come together to clear the air.\u003c/p>\n\u003cp>“It felt like I couldn’t celebrate 30 years of \u003cem>Fresh Prince\u003c/em> without finding a way to celebrate Janet,” Smith tells his castmates, before showing them, and us, video of their pre-taped meeting.\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>What’s most striking about their exchange is how familiar Hubert’s story is for women in the workplace. During Season 3 when she became pregnant, she says, she was facing challenges in her personal life (her then-husband was abusive and unemployed), which indirectly bled into how she approached her work on set. Hubert says this led to the much more powerful Smith painting her on set and in the media as someone who was “difficult” to work with, and that she was told he was responsible for her being forced out. When she was offered a new, restrictive contract—she would only work two and a half months out of the year, her salary would be cut, and she would be prohibited from accepting other jobs outside of \u003cem>Fresh Prince—\u003c/em>she refused to accept the offer. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108150",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hubert points out that she was never “unprofessional” on set, only more reserved. It’s hard to hear such a revelation and not think of the many ways in which this echoes the corporate mindset of bosses who tout the workplace and colleagues as “family” so as to ignore the fact that, for their employees, this is their livelihood; they deserve to be paid a living wage, to have lives outside of work, to just be human. Smith and his other co-stars talk a lot about how much they enjoyed their experience on \u003cem>Fresh Prince \u003c/em>and how it didn’t feel like they were doing a job so much as they were part of a tight-knit family. That’s a heartwarming and admirable kind of environment to exist in, but it’s rarely the reality for everyone. And it doesn’t leave room for accepting that it’s OK to treat your job like it’s actually a job, too—especially if your mental health and well-being outside of work is suffering.\u003c/p>\n\u003cp>Hubert is candid and specific in how this mischaracterization of her attitude and work ethic tarnished her career, particularly as a dark-skinned woman: “Calling a black woman difficult in Hollywood is the kiss of death.” The actress Mo’Nique, among many others, can certainly attest to this, having said she’s been blackballed in the industry since refusing to campaign for \u003cem>Precious \u003c/em>without the promise of additional pay. (“We got labeled as ‘difficult’ because I said one word, and that was: ‘No,'” she \u003ca href=\"https://deadline.com/2019/02/steve-harvey-and-monique-get-into-tense-exchange-1202557010/\" target=\"_blank\" rel=\"noopener noreferrer\">told Steve Harvey last year\u003c/a>.)\u003c/p>\n\u003cp>For Smith’s part, he admits he was neither “sensitive” nor “perceptive” to Hubert’s troubles during her pregnancy, and seems genuinely contrite for how he treated her. He also notes that at the time he was still very young and immature, and that now, having been married with kids of his own, he’s grown to understand what she was up against at that time in her life.\u003c/p>\n\u003cp>But as Hubert gently but sternly notes, the damage was done, and while Will was able to move forward and achieve greater and greater success post-\u003cem>Fresh Prince\u003c/em>, she’s never had that chance. “You took all that away from me with your words. Words can kill.” It’s a harsh reminder of the power of perception, and how so many men are able to wield that power swiftly and devastatingly against women who don’t bend to their will.\u003c/p>\n\u003cp>There’s deep sadness to be felt in the profound loss, both for Hubert’s career and for the later seasons of \u003cem>Fresh Prince. \u003c/em>Her performance as Aunt Viv was groundbreaking in its depiction of a woman who looked like her possessing a range of emotions and attitudes on TV in that era. Hubert could easily glide between saucy and elegant and righteous, often in a single scene. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_104883",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As unsettling as the circumstances of this conversation are, its existence here is also refreshing. For all of the enduring popularity of \u003cem>Fresh Prince\u003c/em> and the general goodwill Smith has managed to maintain in the decades since becoming one of Hollywood’s biggest movie stars, Hubert’s departure has long loomed over the show’s legacy. To address it so directly is a smart P.R. move on Smith’s part—if there’s any actor working today who exudes the need to please crowds and be liked by everyone, it’s him—but it also feels like exactly what Hubert needed in order to provide closure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while they may never share the same strong ties as Smith has with the rest of his co-stars, she at least she seems at peace. For those few moments, funnily enough, the special feels like an actual family reunion with real stakes, as the estranged relatives awkwardly and uncomfortably confront one another, let it all out, and, finally and cathartically, reach reconciliation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Let%27s+Talk+About+That+Reconciliation+During+The+%27Fresh+Prince+Reunion+Special%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889483/lets-talk-about-that-reconciliation-during-the-fresh-prince-reunion-special",
"authors": [
"byline_arts_13889483"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_11323",
"arts_11186",
"arts_1420",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889484",
"label": "arts_137"
},
"arts_13889416": {
"type": "posts",
"id": "arts_13889416",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889416",
"score": null,
"sort": [
1605738592000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1605738592,
"format": "standard",
"title": "'I'm Happy to Eat the Cakes': Matt Lucas Joins the 'Bake Off' Tent",
"headTitle": "‘I’m Happy to Eat the Cakes’: Matt Lucas Joins the ‘Bake Off’ Tent | KQED",
"content": "\u003cp>Some day, historians will look back on this time and ask how Americans kept their cool during a pandemic, a recession, and a stressful presidential race. Those historians may be surprised to find the coping mechanisms included a British reality TV show.\u003c/p>\n\u003cp>\u003cem>The Great British Bake Off\u003c/em>—or \u003cem>The Great British Baking Show\u003c/em>, as it’s technically called in the U.S.—does not have backstabbing alliances or obstacle courses. It’s just home cooks in a big white tent baking cakes, pastries, and biscuits—that is, cookies.\u003c/p>\n\u003cp>The show’s 11th season is now on Netflix. Produced in the midst of the pandemic, with its bakers and hosts living in their very own \u003cem>Bake Off\u003c/em> bubble—and with a new cohost, comedian Matt Lucas, best known in the U.S. for the sketch show \u003cem>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4960364\" target=\"_blank\" rel=\"noopener noreferrer\">Little Britain\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“I did not imagine that I’d become a television host,” Lucas says, “and I had never even seen the show until I went really to try out for it … I got this call on the Friday saying, ‘Would you test for the \u003cem>Bake Off\u003c/em>?’ And I said, ‘I’ve never seen the\u003cem> Bake Off\u003c/em>. I know it’s really, really popular, but I mainly watch soccer and documentaries.’ So my agent said, ‘Well, look, just watch an episode tonight and if you like it, you can test on Tuesday.’ And so I went for dinner with my family, and then I came home and I put on an episode—and then another one, and then another one. I thought, ‘Wow, this show’s brilliant!'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LtRWldtxuiI\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his host audition\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The audition was mad. So I went to a garden center and went up to people and interviewed them about which sort of horticultural accessories they were buying … one of those sort of half indoor-half outdoor garden centers. And people were saying to me, ‘Well, what have you got in your garden?’ And I said, ‘Well, I don’t have a garden. I don’t have any outside space where I live.’ And they were saying, ‘You don’t really know much about horticulture, do you?’ And I said, ‘I know absolutely nothing about it.’ And people were saying, ‘Well, why are you hosting this program about gardening?’ I said, ‘Well, I don’t know. It’s been very quiet lately.’ And people were telling me, ‘Oh, you’ve really come down, your career’s really [come down].’\u003c/p>\n\u003cp>I didn’t really appreciate it quite at the time, but it’s the highest rated show in the U.K. at the moment. It’s such a big show here that they need to audition very many people to find out who’s going to get the job of host. And they want to keep that process as secret as possible. And so I think people just thought I was mad. Why was I wandering around the garden center when I didn’t know anything about gardening?\u003c/p>\n\u003cp>\u003cstrong>On his responsibilities as host—including calling out the remaining time in a challenge—and how he sees his role.\u003c/strong>\u003c/p>\n\u003cp>Well, our real job, I think, is to launch the challenges and to look after the bakers—and the bits they tend to show in the final program are when we’re cracking jokes—reminding them that they know what they’re doing, and they’ve done it many times before, and they’re going to be fine. They just need to do what they do.\u003c/p>\n\u003cp>\u003cstrong>On what it was like to be in the quarantine bubble\u003c/strong>\u003c/p>\n\u003cp>It was a bit like being on a kind of summer camp, you know, and we had activities in the evening, Prue, who’s one of the judges, did some did flower arranging classes. And I did bingo. I don’t know if you call it bingo in the U.S., but … I called out bingo and Paul Hollywood, who’s the other judge, he had his incredible pizza oven brought down from his home. And he had a couple of evenings where he cooked sort of 150 pizzas for everybody … how lucky am I to not only have one of the greatest jobs in television, but also one of the only jobs in television right now? This show was made in the summer. We went before any other show.\u003c/p>\n\u003cp>\u003cstrong>On making fun of the judges, and whether he ever gets told to tone it down\u003c/strong>\u003c/p>\n\u003cp>Very occasionally. I go a bit too far and everyone laughs and Prue laughs. And then she says, ‘I’m laughing, but that’s not going in the show.’ But both of them have a great sense of humor. And they were both very generous in that regard. And also, I was the new boy. So I was kind of finding out where the boundaries are. And they would play jokes on me, too. And it was good for putting the bakers at their ease. You know, they come in and they were so tired and they were so stressed and, you know, they might be real dad jokes that me and [co-host] Noel make, but the bakers would come up to us afterwards and they said, ‘Thank you so much for making me laugh. It really put me at my ease.’ So, you know, it has a purpose to it. It’s not just us showing off.\u003c/p>\n\u003cp>\u003cstrong>On some unwelcome visitors in the tent\u003c/strong>\u003c/p>\n\u003cp>There’s a whole ecosystem, a wonderful community of flies and bugs and wasps and bees and hornets, and they gather—there’s not much you can do—they gather in, you know the pointy roof of the tent? There’s a couple of those points, and they gather up in those points. And at the end of filming every day, they … pull down the sides of the tent and release a smoke bomb to encourage the insects to leave. And they all do leave. And then it’s really hot in the morning, and people are cooking with sugar, and they all just return.\u003c/p>\n\u003cp>\u003cstrong>On whether he himself can bake\u003c/strong>\u003c/p>\n\u003cp>Absolutely not. I once tried to bake a cake, but already I started tampering with the recipe and the cake, I mean, talk about soggy bottom. I mean, this cake was just—if you had to give it a name, you’d call it wet egg cake. I mean, that’s all it was. It was inedible, and I didn’t go anywhere near it. But it’s interesting because the thing about baking is, it’s science. And when you get a recipe, particularly an old recipe, there will be a reason why you should put it in at exactly that temperature for exactly that amount of time, at exactly that spot in the oven. It’s really interesting to see how successful you can be by just following a recipe. Having said that, I still haven’t followed any recipes myself. I’m happy to eat the cakes, but I’m not a great baker.\u003c/p>\n\u003cp>\u003cstrong>On the best thing he ate during the taping\u003c/strong>\u003c/p>\n\u003cp>Do you know, I don’t want to give anything away. There’s a jelly art design round, and that was not only a feast for the eyes, but there were some really, really delicious cakes in that round. It was the moment where everybody upped their game. And it’s really impressive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Mallory Yu, edited by Sarah Handel and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27I%27m+Happy+To+Eat+The+Cakes%27%3A+Matt+Lucas+Joins+The+%27Bake+Off%27+Tent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1365,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705019833,
"excerpt": "The 'Little Britain' star and new host of the 'Great British Baking Show' says he'd never seen it before he was asked to try out.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 'Little Britain' star and new host of the 'Great British Baking Show' says he'd never seen it before he was asked to try out.",
"title": "'I'm Happy to Eat the Cakes': Matt Lucas Joins the 'Bake Off' Tent | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'I'm Happy to Eat the Cakes': Matt Lucas Joins the 'Bake Off' Tent",
"datePublished": "2020-11-18T14:29:52-08:00",
"dateModified": "2024-01-11T16:37:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=934780111&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 17 Nov 2020 15:45:00 -0500",
"nprLastModifiedDate": "Tue, 17 Nov 2020 16:53:38 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/11/17/934780111/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent?ft=nprml&f=934780111",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/11/20201117_atc_im_happy_to_eat_the_cakes_matt_lucas_joins_the_bake_off_tent.mp3?orgId=1&topicId=1138&d=463&p=2&story=934780111&ft=nprml&f=934780111",
"nprImageAgency": "Mark Bourdillon",
"nprAudioM3u": "http://api.npr.org/m3u/1935886841-158a70.m3u?orgId=1&topicId=1138&d=463&p=2&story=934780111&ft=nprml&f=934780111",
"nprStoryId": "934780111",
"nprByline": "Ari Shapiro",
"sticky": false,
"nprImageCredit": "Love Productions",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 17 Nov 2020 19:33:00 -0500",
"path": "/arts/13889416/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/11/20201117_atc_im_happy_to_eat_the_cakes_matt_lucas_joins_the_bake_off_tent.mp3?orgId=1&topicId=1138&d=463&p=2&story=934780111&ft=nprml&f=934780111",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some day, historians will look back on this time and ask how Americans kept their cool during a pandemic, a recession, and a stressful presidential race. Those historians may be surprised to find the coping mechanisms included a British reality TV show.\u003c/p>\n\u003cp>\u003cem>The Great British Bake Off\u003c/em>—or \u003cem>The Great British Baking Show\u003c/em>, as it’s technically called in the U.S.—does not have backstabbing alliances or obstacle courses. It’s just home cooks in a big white tent baking cakes, pastries, and biscuits—that is, cookies.\u003c/p>\n\u003cp>The show’s 11th season is now on Netflix. Produced in the midst of the pandemic, with its bakers and hosts living in their very own \u003cem>Bake Off\u003c/em> bubble—and with a new cohost, comedian Matt Lucas, best known in the U.S. for the sketch show \u003cem>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4960364\" target=\"_blank\" rel=\"noopener noreferrer\">Little Britain\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“I did not imagine that I’d become a television host,” Lucas says, “and I had never even seen the show until I went really to try out for it … I got this call on the Friday saying, ‘Would you test for the \u003cem>Bake Off\u003c/em>?’ And I said, ‘I’ve never seen the\u003cem> Bake Off\u003c/em>. I know it’s really, really popular, but I mainly watch soccer and documentaries.’ So my agent said, ‘Well, look, just watch an episode tonight and if you like it, you can test on Tuesday.’ And so I went for dinner with my family, and then I came home and I put on an episode—and then another one, and then another one. I thought, ‘Wow, this show’s brilliant!'”\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/LtRWldtxuiI'\n title='//www.youtube.com/embed/LtRWldtxuiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his host audition\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>The audition was mad. So I went to a garden center and went up to people and interviewed them about which sort of horticultural accessories they were buying … one of those sort of half indoor-half outdoor garden centers. And people were saying to me, ‘Well, what have you got in your garden?’ And I said, ‘Well, I don’t have a garden. I don’t have any outside space where I live.’ And they were saying, ‘You don’t really know much about horticulture, do you?’ And I said, ‘I know absolutely nothing about it.’ And people were saying, ‘Well, why are you hosting this program about gardening?’ I said, ‘Well, I don’t know. It’s been very quiet lately.’ And people were telling me, ‘Oh, you’ve really come down, your career’s really [come down].’\u003c/p>\n\u003cp>I didn’t really appreciate it quite at the time, but it’s the highest rated show in the U.K. at the moment. It’s such a big show here that they need to audition very many people to find out who’s going to get the job of host. And they want to keep that process as secret as possible. And so I think people just thought I was mad. Why was I wandering around the garden center when I didn’t know anything about gardening?\u003c/p>\n\u003cp>\u003cstrong>On his responsibilities as host—including calling out the remaining time in a challenge—and how he sees his role.\u003c/strong>\u003c/p>\n\u003cp>Well, our real job, I think, is to launch the challenges and to look after the bakers—and the bits they tend to show in the final program are when we’re cracking jokes—reminding them that they know what they’re doing, and they’ve done it many times before, and they’re going to be fine. They just need to do what they do.\u003c/p>\n\u003cp>\u003cstrong>On what it was like to be in the quarantine bubble\u003c/strong>\u003c/p>\n\u003cp>It was a bit like being on a kind of summer camp, you know, and we had activities in the evening, Prue, who’s one of the judges, did some did flower arranging classes. And I did bingo. I don’t know if you call it bingo in the U.S., but … I called out bingo and Paul Hollywood, who’s the other judge, he had his incredible pizza oven brought down from his home. And he had a couple of evenings where he cooked sort of 150 pizzas for everybody … how lucky am I to not only have one of the greatest jobs in television, but also one of the only jobs in television right now? This show was made in the summer. We went before any other show.\u003c/p>\n\u003cp>\u003cstrong>On making fun of the judges, and whether he ever gets told to tone it down\u003c/strong>\u003c/p>\n\u003cp>Very occasionally. I go a bit too far and everyone laughs and Prue laughs. And then she says, ‘I’m laughing, but that’s not going in the show.’ But both of them have a great sense of humor. And they were both very generous in that regard. And also, I was the new boy. So I was kind of finding out where the boundaries are. And they would play jokes on me, too. And it was good for putting the bakers at their ease. You know, they come in and they were so tired and they were so stressed and, you know, they might be real dad jokes that me and [co-host] Noel make, but the bakers would come up to us afterwards and they said, ‘Thank you so much for making me laugh. It really put me at my ease.’ So, you know, it has a purpose to it. It’s not just us showing off.\u003c/p>\n\u003cp>\u003cstrong>On some unwelcome visitors in the tent\u003c/strong>\u003c/p>\n\u003cp>There’s a whole ecosystem, a wonderful community of flies and bugs and wasps and bees and hornets, and they gather—there’s not much you can do—they gather in, you know the pointy roof of the tent? There’s a couple of those points, and they gather up in those points. And at the end of filming every day, they … pull down the sides of the tent and release a smoke bomb to encourage the insects to leave. And they all do leave. And then it’s really hot in the morning, and people are cooking with sugar, and they all just return.\u003c/p>\n\u003cp>\u003cstrong>On whether he himself can bake\u003c/strong>\u003c/p>\n\u003cp>Absolutely not. I once tried to bake a cake, but already I started tampering with the recipe and the cake, I mean, talk about soggy bottom. I mean, this cake was just—if you had to give it a name, you’d call it wet egg cake. I mean, that’s all it was. It was inedible, and I didn’t go anywhere near it. But it’s interesting because the thing about baking is, it’s science. And when you get a recipe, particularly an old recipe, there will be a reason why you should put it in at exactly that temperature for exactly that amount of time, at exactly that spot in the oven. It’s really interesting to see how successful you can be by just following a recipe. Having said that, I still haven’t followed any recipes myself. I’m happy to eat the cakes, but I’m not a great baker.\u003c/p>\n\u003cp>\u003cstrong>On the best thing he ate during the taping\u003c/strong>\u003c/p>\n\u003cp>Do you know, I don’t want to give anything away. There’s a jelly art design round, and that was not only a feast for the eyes, but there were some really, really delicious cakes in that round. It was the moment where everybody upped their game. And it’s really impressive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Mallory Yu, edited by Sarah Handel and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27I%27m+Happy+To+Eat+The+Cakes%27%3A+Matt+Lucas+Joins+The+%27Bake+Off%27+Tent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889416/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent",
"authors": [
"byline_arts_13889416"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_3324",
"arts_10416"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889417",
"label": "arts_137"
},
"arts_13889379": {
"type": "posts",
"id": "arts_13889379",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889379",
"score": null,
"sort": [
1605649520000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1605649520,
"format": "standard",
"title": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No)",
"headTitle": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No) | KQED",
"content": "\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VXcb7VPw59s\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-bZxO5Dn9x0\u003c/p>\n\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2012,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 45
},
"modified": 1705019838,
"excerpt": "The new 'LEGO Star Wars Holiday Special' gently satirizes the franchise. The 1978 'Star Wars Holiday Special' nearly killed it.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new 'LEGO Star Wars Holiday Special' gently satirizes the franchise. The 1978 'Star Wars Holiday Special' nearly killed it.",
"title": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No)",
"datePublished": "2020-11-17T13:45:20-08:00",
"dateModified": "2024-01-11T16:37:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=934507936&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Glen Weldon",
"nprStoryDate": "Tue, 17 Nov 2020 05:00:27 -0500",
"nprLastModifiedDate": "Tue, 17 Nov 2020 10:32:40 -0500",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2020/11/17/934507936/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no?ft=nprml&f=934507936",
"nprImageAgency": "Disney",
"nprStoryId": "934507936",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 17 Nov 2020 10:32:00 -0500",
"path": "/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\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>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\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/VXcb7VPw59s'\n title='//www.youtube.com/embed/VXcb7VPw59s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-bZxO5Dn9x0'\n title='//www.youtube.com/embed/-bZxO5Dn9x0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\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>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no",
"authors": [
"byline_arts_13889379"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_977",
"arts_12786",
"arts_3241"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889380",
"label": "arts_137"
},
"arts_13889334": {
"type": "posts",
"id": "arts_13889334",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889334",
"score": null,
"sort": [
1605561099000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1605561099,
"format": "standard",
"title": "In 'The Crown,' Gillian Anderson Explores Thatcher's 'Powerplay' With the Queen",
"headTitle": "In ‘The Crown,’ Gillian Anderson Explores Thatcher’s ‘Powerplay’ With the Queen | KQED",
"content": "\u003cp>Actor Gillian Anderson says lying about her age helped her land the role that first made her famous. Anderson was just 24—but claimed to be 27—on her first audition for the role of Dana Scully, a doctor investigating paranormal phenomena \u003cem>The X-Files.\u003c/em>\u003c/p>\n\u003cp>“I had no experience whatsoever. I had only ever done a couple of plays and scenes in college,” Anderson says. “If [Scully] comes across as being a little bit cocky and at the same time green, it’s all real. It’s me trying to pretend like I know that I am the person that I say I am.”\u003c/p>\n\u003cp>Anderson played Scully for the show’s entire 11-season run, which spanned from 1993 until 2018. Now she’s taking on a very different role as former British Prime Minister Margaret Thatcher on the Netflix series, \u003cem>The Crown. \u003c/em>\u003c/p>\n\u003cp>This time, if there is an awkwardness to the character, it’s more intentional. Anderson notes that Thatcher, who grew up working class, tended to be “nervous and obsequious” around Queen Elizabeth II.\u003c/p>\n\u003cp>“There was a rigidity to the way that [Thatcher] behaved,” Anderson says. “You kind of see all of that in the depth of her curtsy, which was infamously very, very, very deep … almost as if she’s trying too hard.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HGbBsg-s1CA\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Thatcher’s relationship with Queen Elizabeth II \u003c/strong>\u003c/p>\n\u003cp>We see during different seasons of \u003cem>The Crown\u003c/em> the prime minister being educated about how to behave, how to enter, how you don’t turn your back on the queen, you don’t speak first, you wait to be spoken to, you don’t ask questions. All of that is very different from how the rest of us live. And so what we mostly see is her initial awkwardness and trying to figure out how the best way to sit is and how to read each other and get a sense of what their similarities are, because there are a huge amount of differences, but there are also some very stark similarities—their Christianity and their age and the fact that they’re mothers and their work ethic. So it’s a very interesting—sometimes copacetic, sometimes combative—powerplay that happens between these two women during the course of the series.\u003c/p>\n\u003cp>\u003cstrong>On capturing Thatcher, both physically and vocally\u003c/strong>\u003c/p>\n\u003cp>In thinking about Thatcher’s silhouette, [there] is both her particular girth, coupled with the outline of … that bouffant … and then her particular walk, which she kind of pumped her left arm as she held her right arm crooked with a handbag over it, and she would pump that arm and walk in quite small steps even ahead of Reagan, ahead of Gorbachev\u003cstrong>,\u003c/strong> ahead of whoever she was walking with in their own country.\u003c/p>\n\u003cp>But it was really getting comfortable enough in her vocal qualities, which … is very measured. She was also known for her pitch sometimes, especially in party conferences or when she was talking to large crowds. … There’s a lot more fluctuation in her public voice than we necessarily see in\u003cem> The Crown\u003c/em> in so many of these indoor scenes.\u003c/p>\n\u003cp>\u003cstrong>On Thatcher being a pioneer for women but not a feminist \u003c/strong>\u003c/p>\n\u003cp>The fact that she was in office normalized female success, and I think the girls who grew up when she was running the country were suddenly able to imagine leadership as a female quality. But at the same time, she wasn’t a feminist. She didn’t have interest in social equality. She didn’t really know anything about female solidarity. She had a lack of interest in childcare provision and positive action, so she wasn’t really a feminist icon, and yet she allowed young women to imagine that women could be suited to power. Her presence there was a real dichotomy: The fact that she only brought [in] one woman cabinet member in the 11 years that she was in office … is remarkable, astounding. And at the same time felt she could control, stand up to, be on the same level, same footing, as all the conservative men that were surrounding her. It wasn’t just incredibly male-dominated, it was entirely male-dominated.\u003c/p>\n\u003cp>\u003cstrong>On playing sex therapist Jean in the series\u003c/strong>\u003cstrong>\u003cem> Sex Education\u003c/em>\u003c/strong>\u003cstrong>, and how she talks about sex with her own teenagers \u003c/strong>\u003c/p>\n\u003cp>I have three children and two of them are teenagers, 12 and 14, boys. … One of the things that I was afraid of [when taking the role], they were just starting at a new school, and I was worried that it would affect them negatively to have a mom who was on a show that was so explicitly about things related to sex. … But I think, because the show has so much heart and because the show is so diverse, it’s so freeing, it’s allowing a freedom of conversation that has not been seen before in television, and has been embraced so passionately by all different ages, from parents and children alike. It actually went a long way towards, I think, bringing my children closer to me, in a sense, a feeling that it was something that was cool, for the first time, that I was involved in.\u003c/p>\n\u003cp>They’ve swore to me they haven’t seen it and I’m pretending I believe them. I think that I’m not Jean. I think that I’m surely not. I definitely have better boundaries than Jean. But I think I’m surely not as awkward and as intrusive and as blatantly embarrassing. And yet I find myself trying to have conversations with them or asking questions about under armpit hair that I haven’t yet seen, and can I see it at the dinner table? It comes out of your mouth before you realize what you’re doing. So I think we all struggle with that, even if we think we’re cool parents. All parents are cringe-worthy.\u003c/p>\n\u003cp>\u003cstrong>On fighting for better pay on \u003c/strong>\u003cstrong>\u003cem>The X-Files \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It made sense at the very beginning [to earn less], because I had come from nothing and [co-star David Duchovny] had just done a big feature film with Brad Pitt. But once we were into the third season and we were doing the same amount of work, the same amount of hours, it was essentially a two-handed series, it no longer made sense there was such a discrepancy in our paychecks. And then had to fight again when we did a feature [film] and had to fight again years later when we did more series. It was an ongoing thing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=In+%27The+Crown%2C%27+Gillian+Anderson+Explores+Thatcher%27s+%27Powerplay%27+With+The+Queen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1197,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705019846,
"excerpt": "Anderson plays the controversial British prime minister in Season 4 of 'The Crown.' ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Anderson plays the controversial British prime minister in Season 4 of 'The Crown.' ",
"title": "In 'The Crown,' Gillian Anderson Explores Thatcher's 'Powerplay' With the Queen | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'The Crown,' Gillian Anderson Explores Thatcher's 'Powerplay' With the Queen",
"datePublished": "2020-11-16T13:11:39-08:00",
"dateModified": "2024-01-11T16:37:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-the-crown-gillian-anderson-explores-thatchers-powerplay-with-the-queen",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=935325327&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 16 Nov 2020 12:52:36 -0500",
"nprLastModifiedDate": "Mon, 16 Nov 2020 12:53:03 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/11/16/935325327/in-the-crown-gillian-anderson-explores-thatchers-powerplay-with-the-queen?ft=nprml&f=935325327",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/11/20201116_fa_01.mp3?orgId=427869011&topicId=1138&d=2145&p=13&story=935325327&ft=nprml&f=935325327",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1935422887-c8ff10.m3u?orgId=427869011&topicId=1138&d=2145&p=13&story=935325327&ft=nprml&f=935325327",
"nprStoryId": "935325327",
"nprByline": "Terry Gross",
"sticky": false,
"nprImageCredit": "Des Willie",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 16 Nov 2020 13:35:00 -0500",
"path": "/arts/13889334/in-the-crown-gillian-anderson-explores-thatchers-powerplay-with-the-queen",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/11/20201116_fa_01.mp3?orgId=427869011&topicId=1138&d=2145&p=13&story=935325327&ft=nprml&f=935325327",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Gillian Anderson says lying about her age helped her land the role that first made her famous. Anderson was just 24—but claimed to be 27—on her first audition for the role of Dana Scully, a doctor investigating paranormal phenomena \u003cem>The X-Files.\u003c/em>\u003c/p>\n\u003cp>“I had no experience whatsoever. I had only ever done a couple of plays and scenes in college,” Anderson says. “If [Scully] comes across as being a little bit cocky and at the same time green, it’s all real. It’s me trying to pretend like I know that I am the person that I say I am.”\u003c/p>\n\u003cp>Anderson played Scully for the show’s entire 11-season run, which spanned from 1993 until 2018. Now she’s taking on a very different role as former British Prime Minister Margaret Thatcher on the Netflix series, \u003cem>The Crown. \u003c/em>\u003c/p>\n\u003cp>This time, if there is an awkwardness to the character, it’s more intentional. Anderson notes that Thatcher, who grew up working class, tended to be “nervous and obsequious” around Queen Elizabeth II.\u003c/p>\n\u003cp>“There was a rigidity to the way that [Thatcher] behaved,” Anderson says. “You kind of see all of that in the depth of her curtsy, which was infamously very, very, very deep … almost as if she’s trying too hard.”\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/HGbBsg-s1CA'\n title='//www.youtube.com/embed/HGbBsg-s1CA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Thatcher’s relationship with Queen Elizabeth II \u003c/strong>\u003c/p>\n\u003cp>We see during different seasons of \u003cem>The Crown\u003c/em> the prime minister being educated about how to behave, how to enter, how you don’t turn your back on the queen, you don’t speak first, you wait to be spoken to, you don’t ask questions. All of that is very different from how the rest of us live. And so what we mostly see is her initial awkwardness and trying to figure out how the best way to sit is and how to read each other and get a sense of what their similarities are, because there are a huge amount of differences, but there are also some very stark similarities—their Christianity and their age and the fact that they’re mothers and their work ethic. So it’s a very interesting—sometimes copacetic, sometimes combative—powerplay that happens between these two women during the course of the series.\u003c/p>\n\u003cp>\u003cstrong>On capturing Thatcher, both physically and vocally\u003c/strong>\u003c/p>\n\u003cp>In thinking about Thatcher’s silhouette, [there] is both her particular girth, coupled with the outline of … that bouffant … and then her particular walk, which she kind of pumped her left arm as she held her right arm crooked with a handbag over it, and she would pump that arm and walk in quite small steps even ahead of Reagan, ahead of Gorbachev\u003cstrong>,\u003c/strong> ahead of whoever she was walking with in their own country.\u003c/p>\n\u003cp>But it was really getting comfortable enough in her vocal qualities, which … is very measured. She was also known for her pitch sometimes, especially in party conferences or when she was talking to large crowds. … There’s a lot more fluctuation in her public voice than we necessarily see in\u003cem> The Crown\u003c/em> in so many of these indoor scenes.\u003c/p>\n\u003cp>\u003cstrong>On Thatcher being a pioneer for women but not a feminist \u003c/strong>\u003c/p>\n\u003cp>The fact that she was in office normalized female success, and I think the girls who grew up when she was running the country were suddenly able to imagine leadership as a female quality. But at the same time, she wasn’t a feminist. She didn’t have interest in social equality. She didn’t really know anything about female solidarity. She had a lack of interest in childcare provision and positive action, so she wasn’t really a feminist icon, and yet she allowed young women to imagine that women could be suited to power. Her presence there was a real dichotomy: The fact that she only brought [in] one woman cabinet member in the 11 years that she was in office … is remarkable, astounding. And at the same time felt she could control, stand up to, be on the same level, same footing, as all the conservative men that were surrounding her. It wasn’t just incredibly male-dominated, it was entirely male-dominated.\u003c/p>\n\u003cp>\u003cstrong>On playing sex therapist Jean in the series\u003c/strong>\u003cstrong>\u003cem> Sex Education\u003c/em>\u003c/strong>\u003cstrong>, and how she talks about sex with her own teenagers \u003c/strong>\u003c/p>\n\u003cp>I have three children and two of them are teenagers, 12 and 14, boys. … One of the things that I was afraid of [when taking the role], they were just starting at a new school, and I was worried that it would affect them negatively to have a mom who was on a show that was so explicitly about things related to sex. … But I think, because the show has so much heart and because the show is so diverse, it’s so freeing, it’s allowing a freedom of conversation that has not been seen before in television, and has been embraced so passionately by all different ages, from parents and children alike. It actually went a long way towards, I think, bringing my children closer to me, in a sense, a feeling that it was something that was cool, for the first time, that I was involved in.\u003c/p>\n\u003cp>They’ve swore to me they haven’t seen it and I’m pretending I believe them. I think that I’m not Jean. I think that I’m surely not. I definitely have better boundaries than Jean. But I think I’m surely not as awkward and as intrusive and as blatantly embarrassing. And yet I find myself trying to have conversations with them or asking questions about under armpit hair that I haven’t yet seen, and can I see it at the dinner table? It comes out of your mouth before you realize what you’re doing. So I think we all struggle with that, even if we think we’re cool parents. All parents are cringe-worthy.\u003c/p>\n\u003cp>\u003cstrong>On fighting for better pay on \u003c/strong>\u003cstrong>\u003cem>The X-Files \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It made sense at the very beginning [to earn less], because I had come from nothing and [co-star David Duchovny] had just done a big feature film with Brad Pitt. But once we were into the third season and we were doing the same amount of work, the same amount of hours, it was essentially a two-handed series, it no longer made sense there was such a discrepancy in our paychecks. And then had to fight again when we did a feature [film] and had to fight again years later when we did more series. It was an ongoing thing.\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>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=In+%27The+Crown%2C%27+Gillian+Anderson+Explores+Thatcher%27s+%27Powerplay%27+With+The+Queen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889334/in-the-crown-gillian-anderson-explores-thatchers-powerplay-with-the-queen",
"authors": [
"byline_arts_13889334"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_6124",
"arts_5292"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889335",
"label": "arts_137"
},
"arts_13889201": {
"type": "posts",
"id": "arts_13889201",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889201",
"score": null,
"sort": [
1605215893000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1605215893,
"format": "standard",
"title": "Season 4 of 'The Crown' Introduces Princess Diana—And More Juicy Drama",
"headTitle": "Season 4 of ‘The Crown’ Introduces Princess Diana—And More Juicy Drama | KQED",
"content": "\u003cp>The poet\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7519773\" target=\"_blank\" rel=\"noopener noreferrer\"> W.H. Auden\u003c/a> once wrote:\u003c/p>\n\u003cblockquote>\u003cp>Private faces in public places\u003c/p>\n\u003cp>Are wiser and nicer\u003c/p>\n\u003cp>Than public faces in private places.\u003c/p>\u003c/blockquote>\n\u003cp>If any TV show bears that out, it’s surely \u003cem>The Crown\u003c/em>, the endlessly enticing Netflix drama about the reign of Queen Elizabeth II now entering its fourth season.\u003c/p>\n\u003cp>While \u003ca href=\"https://www.npr.org/2019/11/15/779686317/back-for-season-3-the-crown-may-just-be-the-most-delicious-series-on-tv\" target=\"_blank\" rel=\"noopener noreferrer\">Season 3\u003c/a> was good, it felt a bit glum, with its characters congealing into middle age as Britain sank into grayness in the ’60s and ’70s. One kept hoping for more glamour, more sizzle. These resoundingly arrive in the new season, which centers on the three biggest British icons of the past 50 years—all of whom happen to be female.\u003c/p>\n\u003cp>The action gets started around 1980 when the queen—now in her mid-50s and still played by Olivia Colman—greets the arrival of two women who threaten her preeminence. First comes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/04/08/176586024/five-things-to-know-about-margaret-thatcher\" target=\"_blank\" rel=\"noopener noreferrer\">Margaret Thatcher\u003c/a>, the steely grocer’s daughter (played by \u003ca href=\"https://www.npr.org/2013/12/07/249240231/gillian-anderson-on-the-fall-and-getting-arrested-in-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Gillian Anderson\u003c/a>) whose sheer relentlessness made her not only Britain’s first female prime minister, but the most polarizing figure ever to occupy No. 10 Downing Street.\u003c/p>\n\u003cp>Shortly thereafter, Prince Charles—played superbly by Josh O’Connor—meets a fetching, well-born teenager named Diana Spencer, played in a star-making turn by Emma Corrin. Though Charles is in love with the married Camilla Parker Bowles, he’s under pressure to marry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the scene thus set, the next few years unfold in a procession of events large and small: stag hunts and avalanches, dinner speeches and press leaks, mass unemployment and apartheid, royal tours of Australia and war in the Falklands. We see the emotional wreckage of Princess Margaret, played with wounded bitterness by Helena Bonham-Carter, and most famously, the “fairy-tale romance” between Charles and Diana.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiXEpminPms\u003c/p>\n\u003cp>The show’s creator and main writer Peter Morgan has always cared as much about being entertaining as being historically serious, and this season is filled with juicy scenes. Yet beneath the glossy pleasures, it quietly lays out big themes and conflicts. At issue are wildly differing visions of Britain, of royalty, of womanhood and of power.\u003c/p>\n\u003cp>The queen’s central conflict is with Thatcher, whose almost self-parodic intransigence Anderson manages to humanize without softening. In often-funny scenes awash in hauteur and side-eye, the two take turns annoying and appalling one another.\u003c/p>\n\u003cp>Thatcher sees Her Majesty as a privileged idler who didn’t earn her lofty position and whose ideas of noblesse oblige are sentimental and out of touch. In return, the queen sees Thatcher as a joyless bully who views Britain not as a family but as an oversized shop, showing no compassion for the millions thrown out of work by her economic shock therapy. They’re both absolutely right.\u003c/p>\n\u003cp>The more sympathetic is, of course, the queen—unless you belong to her inner circle. When family members come desperately begging for help—Margaret needs purpose, Charles needs praise, Diana needs warmth—the well-meaning Elizabeth shuts down. Faced with disturbing emotion, Colman’s face lets us watch the queen’s soul escape into a psychological panic room hidden somewhere in her skull. From there, she’s only able to mutter bromides about duty and the monarchy that she herself finds oppressive.\u003c/p>\n\u003cp>But I know that what you really want to hear about is Diana. At first, I worried that she would be impossible to play. How could any actress bottle the particular magic that let her wow the world? In fact, Corrin is startlingly good at capturing the princess’ charismatic shimmer. Her Diana is silly and eager for attention—she adores playing to the public and basking in its affection. Yet this winsome young woman also exudes warmth, decency and fun.\u003c/p>\n\u003cp>Such virtues leave her sadly unprepared for the bulimia-inducing loneliness that devours her from the moment she gets engaged to Charles, who might be pitiable were he not so self-pitying. He passes the royal family’s lovelessness on to Diana, resenting her popularity and leaving her to fend for herself as he continues to carry on with Camilla. Their vaunted fairy-tale romance turns out to have been scripted not by Disney but by the Brothers Grimm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Every season of \u003cem>The Crown\u003c/em> seems to have a victim. Over the course of 10 episodes, the People’s Princess—as Tony Blair dubbed her—learns the hard lesson already learned by Prince Philip, Princess Margaret, Prince Charles, Princess Anne and many others during the show’s previous seasons. Nobody at Buckingham Palace cares whether you’re happy in private, only whether your public face helps assure the future of the crown.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Season+4+Of+%27The+Crown%27+Introduces+Princess+Diana+%E2%80%94+And+More+Juicy+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 821,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019864,
"excerpt": "'The Crown' pulses with glamour, sizzle and a ton of tension, as Elizabeth II greets Margaret Thatcher and Princess Diana.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'The Crown' pulses with glamour, sizzle and a ton of tension, as Elizabeth II greets Margaret Thatcher and Princess Diana.",
"title": "Season 4 of 'The Crown' Introduces Princess Diana—And More Juicy Drama | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Season 4 of 'The Crown' Introduces Princess Diana—And More Juicy Drama",
"datePublished": "2020-11-12T13:18:13-08:00",
"dateModified": "2024-01-11T16:37:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=933785969&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 11 Nov 2020 12:22:56 -0500",
"nprLastModifiedDate": "Wed, 11 Nov 2020 13:14:18 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama?ft=nprml&f=933785969",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/11/20201111_fa_02.mp3?orgId=427869011&topicId=1163&d=420&p=13&story=933785969&ft=nprml&f=933785969",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1933888141-23ad86.m3u?orgId=427869011&topicId=1163&d=420&p=13&story=933785969&ft=nprml&f=933785969",
"nprStoryId": "933785969",
"nprByline": "John Powers",
"sticky": false,
"nprImageCredit": "Des Willie",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 11 Nov 2020 13:32:00 -0500",
"path": "/arts/13889201/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/11/20201111_fa_02.mp3?orgId=427869011&topicId=1163&d=420&p=13&story=933785969&ft=nprml&f=933785969",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The poet\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7519773\" target=\"_blank\" rel=\"noopener noreferrer\"> W.H. Auden\u003c/a> once wrote:\u003c/p>\n\u003cblockquote>\u003cp>Private faces in public places\u003c/p>\n\u003cp>Are wiser and nicer\u003c/p>\n\u003cp>Than public faces in private places.\u003c/p>\u003c/blockquote>\n\u003cp>If any TV show bears that out, it’s surely \u003cem>The Crown\u003c/em>, the endlessly enticing Netflix drama about the reign of Queen Elizabeth II now entering its fourth season.\u003c/p>\n\u003cp>While \u003ca href=\"https://www.npr.org/2019/11/15/779686317/back-for-season-3-the-crown-may-just-be-the-most-delicious-series-on-tv\" target=\"_blank\" rel=\"noopener noreferrer\">Season 3\u003c/a> was good, it felt a bit glum, with its characters congealing into middle age as Britain sank into grayness in the ’60s and ’70s. One kept hoping for more glamour, more sizzle. These resoundingly arrive in the new season, which centers on the three biggest British icons of the past 50 years—all of whom happen to be female.\u003c/p>\n\u003cp>The action gets started around 1980 when the queen—now in her mid-50s and still played by Olivia Colman—greets the arrival of two women who threaten her preeminence. First comes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/04/08/176586024/five-things-to-know-about-margaret-thatcher\" target=\"_blank\" rel=\"noopener noreferrer\">Margaret Thatcher\u003c/a>, the steely grocer’s daughter (played by \u003ca href=\"https://www.npr.org/2013/12/07/249240231/gillian-anderson-on-the-fall-and-getting-arrested-in-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Gillian Anderson\u003c/a>) whose sheer relentlessness made her not only Britain’s first female prime minister, but the most polarizing figure ever to occupy No. 10 Downing Street.\u003c/p>\n\u003cp>Shortly thereafter, Prince Charles—played superbly by Josh O’Connor—meets a fetching, well-born teenager named Diana Spencer, played in a star-making turn by Emma Corrin. Though Charles is in love with the married Camilla Parker Bowles, he’s under pressure to marry.\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>With the scene thus set, the next few years unfold in a procession of events large and small: stag hunts and avalanches, dinner speeches and press leaks, mass unemployment and apartheid, royal tours of Australia and war in the Falklands. We see the emotional wreckage of Princess Margaret, played with wounded bitterness by Helena Bonham-Carter, and most famously, the “fairy-tale romance” between Charles and Diana.\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/OiXEpminPms'\n title='//www.youtube.com/embed/OiXEpminPms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show’s creator and main writer Peter Morgan has always cared as much about being entertaining as being historically serious, and this season is filled with juicy scenes. Yet beneath the glossy pleasures, it quietly lays out big themes and conflicts. At issue are wildly differing visions of Britain, of royalty, of womanhood and of power.\u003c/p>\n\u003cp>The queen’s central conflict is with Thatcher, whose almost self-parodic intransigence Anderson manages to humanize without softening. In often-funny scenes awash in hauteur and side-eye, the two take turns annoying and appalling one another.\u003c/p>\n\u003cp>Thatcher sees Her Majesty as a privileged idler who didn’t earn her lofty position and whose ideas of noblesse oblige are sentimental and out of touch. In return, the queen sees Thatcher as a joyless bully who views Britain not as a family but as an oversized shop, showing no compassion for the millions thrown out of work by her economic shock therapy. They’re both absolutely right.\u003c/p>\n\u003cp>The more sympathetic is, of course, the queen—unless you belong to her inner circle. When family members come desperately begging for help—Margaret needs purpose, Charles needs praise, Diana needs warmth—the well-meaning Elizabeth shuts down. Faced with disturbing emotion, Colman’s face lets us watch the queen’s soul escape into a psychological panic room hidden somewhere in her skull. From there, she’s only able to mutter bromides about duty and the monarchy that she herself finds oppressive.\u003c/p>\n\u003cp>But I know that what you really want to hear about is Diana. At first, I worried that she would be impossible to play. How could any actress bottle the particular magic that let her wow the world? In fact, Corrin is startlingly good at capturing the princess’ charismatic shimmer. Her Diana is silly and eager for attention—she adores playing to the public and basking in its affection. Yet this winsome young woman also exudes warmth, decency and fun.\u003c/p>\n\u003cp>Such virtues leave her sadly unprepared for the bulimia-inducing loneliness that devours her from the moment she gets engaged to Charles, who might be pitiable were he not so self-pitying. He passes the royal family’s lovelessness on to Diana, resenting her popularity and leaving her to fend for herself as he continues to carry on with Camilla. Their vaunted fairy-tale romance turns out to have been scripted not by Disney but by the Brothers Grimm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Every season of \u003cem>The Crown\u003c/em> seems to have a victim. Over the course of 10 episodes, the People’s Princess—as Tony Blair dubbed her—learns the hard lesson already learned by Prince Philip, Princess Margaret, Prince Charles, Princess Anne and many others during the show’s previous seasons. Nobody at Buckingham Palace cares whether you’re happy in private, only whether your public face helps assure the future of the crown.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Season+4+Of+%27The+Crown%27+Introduces+Princess+Diana+%E2%80%94+And+More+Juicy+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889201/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama",
"authors": [
"byline_arts_13889201"
],
"categories": [
"arts_1",
"arts_7862",
"arts_990"
],
"tags": [
"arts_3324",
"arts_6124",
"arts_8581",
"arts_8583",
"arts_9748",
"arts_8126",
"arts_5422",
"arts_5292"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13889202",
"label": "arts_137"
},
"arts_13889018": {
"type": "posts",
"id": "arts_13889018",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889018",
"score": null,
"sort": [
1604862000000
]
},
"guestAuthors": [],
"slug": "what-is-the-end-of-an-era-jeopardy-host-alex-trebek-dies-at-80",
"title": "What is the End of an Era? 'Jeopardy!' Host Alex Trebek Dies at 80",
"publishDate": 1604862000,
"format": "standard",
"headTitle": "What is the End of an Era? ‘Jeopardy!’ Host Alex Trebek Dies at 80 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In the category of “Beloved Trivia Game Show Hosts,” there is one very clear answer: Who is Alex Trebek? For 36 years, Trebek quizzed \u003cem>Jeopardy!\u003c/em> contestants on history, geography, hip-hop lyrics, “Potent Potables” and “Potpourri.”\u003c/p>\n\u003cp>Trebek died in Los Angeles on Sunday morning at age 80. His death was confirmed by the \u003ca href=\"https://twitter.com/Jeopardy/status/1325490106329751553/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jeopardy!\u003c/em> Twitter account\u003c/a>: “Jeopardy! is saddened to share that Alex Trebek passed away peacefully at home early this morning, surrounded by family and friends. Thank you, Alex.”\u003c/p>\n\u003cp>Trebek enjoyed the intelligence of \u003cem>Jeopardy! \u003c/em>contestants. “I love spending time with bright people … and \u003cem>Jeopardy!\u003c/em> puts me in touch with bright folks all the time,” he \u003ca href=\"https://www.npr.org/2016/04/17/474394416/this-is-the-length-of-alex-trebeks-game-show-tenure-what-is-50-years\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR in 2016\u003c/a>.\u003c/p>\n\u003cp>Trebek was born in Ontario, Canada—his father was a chef who’d immigrated to Canada from Ukraine. In the early 1960s, while studying philosophy at the University of Ottawa, Trebek worked as a news and sports announcer for the Canadian Broadcasting Corp.\u003c/p>\n\u003cp>Trebek hosted programs about music, skating and horse racing, as well as a high school quiz show called \u003cem>Reach for the Top.\u003c/em> In 1973, he moved to LA to host NBC’s new game show, \u003cem>The Wizard of Odds. \u003c/em>Trebek went on to host a string of shows in the 1970s, ’80s, ’90s and beyond, including \u003cem>The $128,000 Question\u003c/em>, \u003cem>Double Dare\u003c/em>, \u003cem>Battlestars\u003c/em>, \u003cem>To Tell the Truth\u003c/em> and \u003cem>High Rollers.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Jeopardy!\u003c/em> was a hybrid trivia quiz and IQ test created in 1964 by TV host Merv Griffin and his wife, Julann. It was designed to restore credibility to the TV game show genre, which had fallen into disrepute following the cheating scandals of the 1950s. Twenty years after it began, Trebek became the host of \u003cem>Jeopardy!\u003c/em> when it was syndicated. For his first three seasons, Trebek was also the show’s producer.\u003c/p>\n\u003cp>“Most of the time, our contestants are not there for the money on \u003cem>Jeopardy!\u003c/em>,” \u003ca href=\"https://freshairarchive.org/segments/jeopardys-alex-trebek\" target=\"_blank\" rel=\"noopener noreferrer\">he told NPR’s \u003cem>Fresh Air\u003c/em> in 1987\u003c/a>. “They are there to show off their intellectual skills. They are there to have their moment in the sun and be television stars for that half-hour.”\u003c/p>\n\u003cp>In 2016, \u003ca href=\"https://www.npr.org/2016/04/17/474394416/this-is-the-length-of-alex-trebeks-game-show-tenure-what-is-50-years\" target=\"_blank\" rel=\"noopener noreferrer\">he told NPR\u003c/a> that he liked chatting with contestants to get a sense of their personalities. “Some of them—for want of a better term—are nerds, but most of them are just bright people,” Trebek said on \u003cem>Weekend Edition\u003c/em>. “What I’m trying to do is get across to the viewers that these are ordinary folks—you’re going to like them.”\u003c/p>\n\u003cp>\u003cem>Jeopardy!\u003c/em> champ \u003ca href=\"https://www.npr.org/2019/05/10/722198188/episode-912-how-uncle-jamie-broke-jeopardy\" target=\"_blank\" rel=\"noopener noreferrer\">James Holzhauer\u003c/a> once compared Trebek’s credibility to newsman Walter Cronkite’s. But the host also sometimes poked fun at himself and wore goofy costumes. Trebek \u003ca href=\"https://simpsonswiki.com/wiki/Alex_Trebek_(character)\" target=\"_blank\" rel=\"noopener noreferrer\">voiced himself\u003c/a> in the animated series \u003cem>The Simpsons\u003c/em>, and comic actor Will Ferrell \u003ca href=\"https://www.youtube.com/watch?v=ImaYMoTi2g8\" target=\"_blank\" rel=\"noopener noreferrer\">parodied him\u003c/a> on \u003cem>Saturday Night Live.\u003c/em>\u003c/p>\n\u003cp>When asked why \u003cem>Jeopardy!\u003c/em> survived while countless other game shows had come and gone, Trebek credited the “the gimmick” of the question-and-answer format. But it was more than that: “Americans are very competitive, and people play along at home just to test themselves,” he said.\u003c/p>\n\u003cp>Trebek knew those fans playing along at home often got all the answers. They’d say, ” ‘Gosh, I sit at home in my living room and I get everything right,’ ” Trebek said—and he acknowledged it was true. “Most people do a lot better in their living rooms than they will ever do on the program.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vXDyXdviYOk\u003c/p>\n\u003cp>In March 2019, Trebek \u003ca href=\"https://www.npr.org/2019/03/07/700991546/jeopardy-host-alex-trebek-says-he-has-pancreatic-cancer\" target=\"_blank\" rel=\"noopener noreferrer\">delivered some bad news\u003c/a> directly to fans. “Just like 50,000 other people in the United States each year, this week I was diagnosed with stage 4 pancreatic cancer,” he \u003ca href=\"https://www.youtube.com/watch?v=7cInGyxCY9k&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">announced in an online video.\u003c/a> “Normally the prognosis for this is not very encouraging, but I’m going to fight this. … Truth told, I \u003cem>have\u003c/em> to, because under the terms of my contract, I have to host \u003cem>Jeopardy!\u003c/em> for three more years.”\u003c/p>\n\u003cp>Trebek vowed to continue working, and he did, through bouts of chemotherapy.\u003c/p>\n\u003cp>In November 2019, \u003ca href=\"https://slate.com/culture/2019/11/jeopardy-alex-trebek-dhruv-gaur-we-love-you-alex-final-jeopardy.html\" target=\"_blank\" rel=\"noopener noreferrer\">one contestant expressed\u003c/a> what many \u003cem>Jeopardy! \u003c/em>fans were feeling: For his “Final Jeopardy!” answer, Dhruv Gaur wagered $1,995 on his answer: “What is We ❤ you, Alex!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story. Beth Novey contributed to the Web version.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=What+Is+The+End+Of+An+Era%3F+%27Jeopardy%21%27+Host+Alex+Trebek+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "\"I love spending time with bright people,\" said the longtime game show host. Trebek began hosting the trivia show in 1984 and continued for nearly four decades, even through bouts of chemotherapy.",
"status": "publish",
"parent": 0,
"modified": 1726761260,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 763
},
"headData": {
"title": "What is the End of an Era? 'Jeopardy!' Host Alex Trebek Dies at 80 | KQED",
"description": ""I love spending time with bright people," said the longtime game show host. Trebek began hosting the trivia show in 1984 and continued for nearly four decades, even through bouts of chemotherapy.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What is the End of an Era? 'Jeopardy!' Host Alex Trebek Dies at 80",
"datePublished": "2020-11-08T11:00:00-08:00",
"dateModified": "2024-09-19T08:54:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Amanda Edwards",
"nprByline": "Mandalit del Barco",
"nprImageAgency": "Getty Images",
"nprStoryId": "730427254",
"nprApiLink": "http://api.npr.org/query?id=730427254&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2020/11/08/730427254/what-is-the-end-of-an-era-jeopardy-host-alex-trebek-dies-at-80?ft=nprml&f=730427254",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 08 Nov 2020 13:46:00 -0500",
"nprStoryDate": "Sun, 08 Nov 2020 12:57:00 -0500",
"nprLastModifiedDate": "Sun, 08 Nov 2020 13:46:33 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13889018/what-is-the-end-of-an-era-jeopardy-host-alex-trebek-dies-at-80",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the category of “Beloved Trivia Game Show Hosts,” there is one very clear answer: Who is Alex Trebek? For 36 years, Trebek quizzed \u003cem>Jeopardy!\u003c/em> contestants on history, geography, hip-hop lyrics, “Potent Potables” and “Potpourri.”\u003c/p>\n\u003cp>Trebek died in Los Angeles on Sunday morning at age 80. His death was confirmed by the \u003ca href=\"https://twitter.com/Jeopardy/status/1325490106329751553/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jeopardy!\u003c/em> Twitter account\u003c/a>: “Jeopardy! is saddened to share that Alex Trebek passed away peacefully at home early this morning, surrounded by family and friends. Thank you, Alex.”\u003c/p>\n\u003cp>Trebek enjoyed the intelligence of \u003cem>Jeopardy! \u003c/em>contestants. “I love spending time with bright people … and \u003cem>Jeopardy!\u003c/em> puts me in touch with bright folks all the time,” he \u003ca href=\"https://www.npr.org/2016/04/17/474394416/this-is-the-length-of-alex-trebeks-game-show-tenure-what-is-50-years\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR in 2016\u003c/a>.\u003c/p>\n\u003cp>Trebek was born in Ontario, Canada—his father was a chef who’d immigrated to Canada from Ukraine. In the early 1960s, while studying philosophy at the University of Ottawa, Trebek worked as a news and sports announcer for the Canadian Broadcasting Corp.\u003c/p>\n\u003cp>Trebek hosted programs about music, skating and horse racing, as well as a high school quiz show called \u003cem>Reach for the Top.\u003c/em> In 1973, he moved to LA to host NBC’s new game show, \u003cem>The Wizard of Odds. \u003c/em>Trebek went on to host a string of shows in the 1970s, ’80s, ’90s and beyond, including \u003cem>The $128,000 Question\u003c/em>, \u003cem>Double Dare\u003c/em>, \u003cem>Battlestars\u003c/em>, \u003cem>To Tell the Truth\u003c/em> and \u003cem>High Rollers.\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>\u003cem>Jeopardy!\u003c/em> was a hybrid trivia quiz and IQ test created in 1964 by TV host Merv Griffin and his wife, Julann. It was designed to restore credibility to the TV game show genre, which had fallen into disrepute following the cheating scandals of the 1950s. Twenty years after it began, Trebek became the host of \u003cem>Jeopardy!\u003c/em> when it was syndicated. For his first three seasons, Trebek was also the show’s producer.\u003c/p>\n\u003cp>“Most of the time, our contestants are not there for the money on \u003cem>Jeopardy!\u003c/em>,” \u003ca href=\"https://freshairarchive.org/segments/jeopardys-alex-trebek\" target=\"_blank\" rel=\"noopener noreferrer\">he told NPR’s \u003cem>Fresh Air\u003c/em> in 1987\u003c/a>. “They are there to show off their intellectual skills. They are there to have their moment in the sun and be television stars for that half-hour.”\u003c/p>\n\u003cp>In 2016, \u003ca href=\"https://www.npr.org/2016/04/17/474394416/this-is-the-length-of-alex-trebeks-game-show-tenure-what-is-50-years\" target=\"_blank\" rel=\"noopener noreferrer\">he told NPR\u003c/a> that he liked chatting with contestants to get a sense of their personalities. “Some of them—for want of a better term—are nerds, but most of them are just bright people,” Trebek said on \u003cem>Weekend Edition\u003c/em>. “What I’m trying to do is get across to the viewers that these are ordinary folks—you’re going to like them.”\u003c/p>\n\u003cp>\u003cem>Jeopardy!\u003c/em> champ \u003ca href=\"https://www.npr.org/2019/05/10/722198188/episode-912-how-uncle-jamie-broke-jeopardy\" target=\"_blank\" rel=\"noopener noreferrer\">James Holzhauer\u003c/a> once compared Trebek’s credibility to newsman Walter Cronkite’s. But the host also sometimes poked fun at himself and wore goofy costumes. Trebek \u003ca href=\"https://simpsonswiki.com/wiki/Alex_Trebek_(character)\" target=\"_blank\" rel=\"noopener noreferrer\">voiced himself\u003c/a> in the animated series \u003cem>The Simpsons\u003c/em>, and comic actor Will Ferrell \u003ca href=\"https://www.youtube.com/watch?v=ImaYMoTi2g8\" target=\"_blank\" rel=\"noopener noreferrer\">parodied him\u003c/a> on \u003cem>Saturday Night Live.\u003c/em>\u003c/p>\n\u003cp>When asked why \u003cem>Jeopardy!\u003c/em> survived while countless other game shows had come and gone, Trebek credited the “the gimmick” of the question-and-answer format. But it was more than that: “Americans are very competitive, and people play along at home just to test themselves,” he said.\u003c/p>\n\u003cp>Trebek knew those fans playing along at home often got all the answers. They’d say, ” ‘Gosh, I sit at home in my living room and I get everything right,’ ” Trebek said—and he acknowledged it was true. “Most people do a lot better in their living rooms than they will ever do on the program.”\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/vXDyXdviYOk'\n title='//www.youtube.com/embed/vXDyXdviYOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In March 2019, Trebek \u003ca href=\"https://www.npr.org/2019/03/07/700991546/jeopardy-host-alex-trebek-says-he-has-pancreatic-cancer\" target=\"_blank\" rel=\"noopener noreferrer\">delivered some bad news\u003c/a> directly to fans. “Just like 50,000 other people in the United States each year, this week I was diagnosed with stage 4 pancreatic cancer,” he \u003ca href=\"https://www.youtube.com/watch?v=7cInGyxCY9k&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">announced in an online video.\u003c/a> “Normally the prognosis for this is not very encouraging, but I’m going to fight this. … Truth told, I \u003cem>have\u003c/em> to, because under the terms of my contract, I have to host \u003cem>Jeopardy!\u003c/em> for three more years.”\u003c/p>\n\u003cp>Trebek vowed to continue working, and he did, through bouts of chemotherapy.\u003c/p>\n\u003cp>In November 2019, \u003ca href=\"https://slate.com/culture/2019/11/jeopardy-alex-trebek-dhruv-gaur-we-love-you-alex-final-jeopardy.html\" target=\"_blank\" rel=\"noopener noreferrer\">one contestant expressed\u003c/a> what many \u003cem>Jeopardy! \u003c/em>fans were feeling: For his “Final Jeopardy!” answer, Dhruv Gaur wagered $1,995 on his answer: “What is We ❤ you, Alex!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story. Beth Novey contributed to the Web version.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=What+Is+The+End+Of+An+Era%3F+%27Jeopardy%21%27+Host+Alex+Trebek+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889018/what-is-the-end-of-an-era-jeopardy-host-alex-trebek-dies-at-80",
"authors": [
"byline_arts_13889018"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_10278",
"arts_12716",
"arts_11688"
],
"featImg": "arts_13889019",
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 504,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1036,
"relation": "eq"
},
"items": [
"arts_13890000",
"arts_13889904",
"arts_13889643",
"arts_13889581",
"arts_13889571",
"arts_13889554",
"arts_13889483",
"arts_13889416",
"arts_13889379",
"arts_13889334",
"arts_13889201",
"arts_13889018"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_tv": {
"isLoading": true
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_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_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_11688": {
"type": "terms",
"id": "arts_11688",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11688",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jeopardy!",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jeopardy! Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11700,
"slug": "jeopardy",
"isLoading": false,
"link": "/arts/tag/jeopardy"
},
"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_4088": {
"type": "terms",
"id": "arts_4088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4088",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dolly parton",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dolly parton Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4100,
"slug": "dolly-parton",
"isLoading": false,
"link": "/arts/tag/dolly-parton"
},
"arts_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_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_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_10416": {
"type": "terms",
"id": "arts_10416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "shelter in place",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "shelter in place Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10428,
"slug": "shelter-in-place",
"isLoading": false,
"link": "/arts/tag/shelter-in-place"
},
"arts_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_10127": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"found": true
},
"relationships": {},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"link": "/arts/tag/covid-19"
},
"arts_6062": {
"type": "terms",
"id": "arts_6062",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6062",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thanksgiving",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thanksgiving Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6074,
"slug": "thanksgiving",
"isLoading": false,
"link": "/arts/tag/thanksgiving"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_11186": {
"type": "terms",
"id": "arts_11186",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11186",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO Max",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Max Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11198,
"slug": "hbo-max",
"isLoading": false,
"link": "/arts/tag/hbo-max"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"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_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_12786": {
"type": "terms",
"id": "arts_12786",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12786",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harrison Ford",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harrison Ford Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12798,
"slug": "harrison-ford",
"isLoading": false,
"link": "/arts/tag/harrison-ford"
},
"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_6124": {
"type": "terms",
"id": "arts_6124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6124",
"found": true
},
"relationships": {},
"featImg": null,
"name": "olivia colman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "olivia colman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6136,
"slug": "olivia-colman",
"isLoading": false,
"link": "/arts/tag/olivia-colman"
},
"arts_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_8581": {
"type": "terms",
"id": "arts_8581",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8581",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prince Charles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Charles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8593,
"slug": "prince-charles",
"isLoading": false,
"link": "/arts/tag/prince-charles"
},
"arts_8583": {
"type": "terms",
"id": "arts_8583",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8583",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Princess Diana",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Princess Diana Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8595,
"slug": "princess-diana",
"isLoading": false,
"link": "/arts/tag/princess-diana"
},
"arts_9748": {
"type": "terms",
"id": "arts_9748",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9748",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Queen Elizabeth II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Queen Elizabeth II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9760,
"slug": "queen-elizabeth-ii",
"isLoading": false,
"link": "/arts/tag/queen-elizabeth-ii"
},
"arts_8126": {
"type": "terms",
"id": "arts_8126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "royal family",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "royal family Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8138,
"slug": "royal-family",
"isLoading": false,
"link": "/arts/tag/royal-family"
},
"arts_12716": {
"type": "terms",
"id": "arts_12716",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12716",
"found": true
},
"relationships": {},
"featImg": null,
"name": "game shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "game shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12728,
"slug": "game-shows",
"isLoading": false,
"link": "/arts/tag/game-shows"
}
},
"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
}
}
