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_13902479": {
"type": "attachments",
"id": "arts_13902479",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902479",
"found": true
},
"parent": 13902470,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg",
"width": 2000,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 768
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1630681060,
"modified": 1630682661,
"caption": "Shang-Chi gets ready to fight on a Muni bus going through the Stockton Street Tunnel. ",
"description": "Shang-Chi gets ready to fight on a Muni bus going through the Stockton Street Tunnel. ",
"title": "ShangChi.Tunnel",
"credit": "Disney",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902659": {
"type": "attachments",
"id": "arts_13902659",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902659",
"found": true
},
"parent": 13902658,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-scaled-e1631046176835.jpg",
"width": 1920,
"height": 1272
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-2048x1357.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1357
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-1020x676.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 676
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-1536x1017.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1017
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-1920x1272.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1272
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-800x530.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 530
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/gettyimages-1337726255_custom-678cf5caf462ad9c62dabd7d06ca2d8bda974c6b-768x509.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 509
}
},
"publishDate": 1631045510,
"modified": 1631046233,
"caption": "Simu Liu, star of 'Shang-Chi and the Legend of the Ten Rings,' at the film's Toronto premiere on Sept. 1.",
"description": "Simu Liu, star of 'Shang-Chi and the Legend of the Ten Rings,' at the film's Toronto premiere on Sept. 1.",
"title": "Simu Liu, star of 'Shang-Chi and the Legend of the Ten Rings,' at the film's Toronto premiere on Sept. 1.",
"credit": "Ryan Emberley/Getty Images for Disney",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902480": {
"type": "attachments",
"id": "arts_13902480",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902480",
"found": true
},
"parent": 13902470,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-160x83.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 83
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_.jpg",
"width": 1920,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-1020x531.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 531
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-1536x800.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 800
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-800x417.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 417
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChiMuniHistory.MUNI_-768x400.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 400
}
},
"publishDate": 1630682251,
"modified": 1630682351,
"caption": "Left, Shang-Chi mixes it up on a 1-California Muni bus headed through the Stockton Street Tunnel. Right, Chinatown advocates celebrate the launch of a Muni line that travels through that tunnel, a gateway for the local Chinese community.",
"description": "Left, Shang-Chi mixes it up on a 1-California Muni bus headed through the Stockton Street Tunnel. Right, Chinatown advocates celebrate the launch of a Muni line that travels through that tunnel, a gateway for the local Chinese community.",
"title": "ShangChiMuniHistory.MUNI",
"credit": "Disney/Courtesy Chinatown TRIP/Photo illustration by KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13902241": {
"type": "attachments",
"id": "arts_13902241",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13902241",
"found": true
},
"parent": 13902238,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-e1630439839829.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-9497937881_wide-d3a8fb84aedb18f9e3cfa440ce7f6267d04f8cf7-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1630439274,
"modified": 1630439879,
"caption": "Nia DaCosta attends a screening of 'Little Woods' during the 2018 Tribeca Film Festival at SVA Theatre on April 21, 2018 in New York City.",
"description": "Nia DaCosta attends a screening of 'Little Woods' during the 2018 Tribeca Film Festival at SVA Theatre on April 21, 2018 in New York City.",
"title": "Nia DaCosta attends a screening of 'Little Woods' during the 2018 Tribeca Film Festival at SVA Theatre on April 21, 2018 in New York City.",
"credit": "Ilya S. Savenok/Getty Images for Tribeca Film Fe",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13901047": {
"type": "attachments",
"id": "arts_13901047",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901047",
"found": true
},
"parent": 13901046,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-scaled-e1628703853906.jpe",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-2048x1152.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/102_cba0100_comp_005_v901_f89ebdcc_wide-da4eb90703aa252790492c238be47ba5ac29ae80-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1628703245,
"modified": 1628703902,
"caption": "Uatu the Watcher (voiced by Jeffrey Wright) is your guide to Disney+'s 'What If...?,' which mixes up characters and events in the MCU.",
"description": "Uatu the Watcher (voiced by Jeffrey Wright) is your guide to Disney+'s 'What If...?,' which mixes up characters and events in the MCU.",
"title": "Uatu the Watcher (voiced by Jeffrey Wright) is your guide to Disney+'s 'What If...?,' which mixes up characters and events in the MCU.",
"credit": "Disney+",
"status": "inherit",
"altTag": "Uatu the Watcher (voiced by Jeffrey Wright) is your guide to Disney+'s 'What If...?,' which mixes up characters and events in the MCU.",
"isLoading": false,
"fetchFailed": false
},
"arts_13897145": {
"type": "attachments",
"id": "arts_13897145",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13897145",
"found": true
},
"parent": 13897144,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d.png",
"width": 1525,
"height": 858
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/screenshot-7-_wide-8be9e49ee21dc79032fc1737111d18aa0f87362d-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1620936651,
"modified": 1620936651,
"caption": null,
"description": null,
"title": "Screenshot from Marvel's trailer for it's slate of movies on the horizon.",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13896611": {
"type": "attachments",
"id": "arts_13896611",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896611",
"found": true
},
"parent": 13896604,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri.jpg",
"width": 1372,
"height": 772
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/ChinakaRiri-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1619809960,
"modified": 1619810038,
"caption": "Chinaka Hodge (L) has been tapped for Disney's 'Ironheart' series, based on Riri Williams (R).",
"description": "Chinaka Hodge (L) has been tapped for Disney's 'Ironheart' series.",
"title": "ChinakaRiri",
"credit": "Christina Campbell/Marvel",
"status": "inherit",
"altTag": "Chinaka Hodge (L) has been tapped for Disney's 'Ironheart' series.",
"isLoading": false,
"fetchFailed": false
},
"arts_13896300": {
"type": "attachments",
"id": "arts_13896300",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896300",
"found": true
},
"parent": 13896299,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-scaled-e1619216910522.jpe",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-2048x1152.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/falcon_wide-48307aa4df847dcd0ec15a95c063858b56b4f057-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1619216405,
"modified": 1619216947,
"caption": "'The Falcon and the Winter Soldier' explores the question of whether there can be a Black Captain America.",
"description": "'The Falcon and the Winter Soldier' explores the question of whether there can be a Black Captain America.",
"title": "'The Falcon and the Winter Soldier' explores the question of whether there can be a Black Captain America.",
"credit": "Chuck Zlotnick/Marvel Studios",
"status": "inherit",
"altTag": "'The Falcon and the Winter Soldier' explores the question of whether there can be a Black Captain America.",
"isLoading": false,
"fetchFailed": false
},
"arts_13894195": {
"type": "attachments",
"id": "arts_13894195",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13894195",
"found": true
},
"parent": 13894194,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-scaled-e1616092466209.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/jl-06689r_wide-67f2065d4208c05dec628ba39d1794be1ed25370-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1616089468,
"modified": 1616092505,
"caption": "Zack Snyder directs Ben Affleck and Gal Gadot on the set of 'Justice League.'",
"description": "Zack Snyder directs Ben Affleck and Gal Gadot on the set of 'Justice League.'",
"title": "Zack Snyder directs Ben Affleck and Gal Gadot on the set of 'Justice League.'",
"credit": "Clay Enos/HBO Max",
"status": "inherit",
"altTag": "Zack Snyder directs Ben Affleck and Gal Gadot on the set of 'Justice League.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13891310": {
"type": "attachments",
"id": "arts_13891310",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13891310",
"found": true
},
"parent": 13891309,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-scaled-e1610737076921.jpe",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-2048x1152.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/wvo0360_101_comp_v013_r709_v02_947d09cd_wide-6dc034ffd8c1b53cf35f5c516bcb476842ac2aec-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1610735503,
"modified": 1610737281,
"caption": "In Disney+'s 'WandaVision,' Wanda (Elizabeth Olsen) and Vision (Paul Bettany) find themselves in a disturbing situation ... comedy.",
"description": "In Disney+'s 'WandaVision,' Wanda (Elizabeth Olsen) and Vision (Paul Bettany) find themselves in a disturbing situation ... comedy.",
"title": "In Disney+'s 'WandaVision,' Wanda (Elizabeth Olsen) and Vision (Paul Bettany) find themselves in a disturbing situation ... comedy.",
"credit": "Marvel Studios",
"status": "inherit",
"altTag": "Wanda (played by Elizabeth Olsen) and Vision (played by Paul Bettany), all dressed up in 1950s attire, and starring in Disney+'s 'WandaVision.’",
"isLoading": false,
"fetchFailed": false
},
"arts_13872367": {
"type": "attachments",
"id": "arts_13872367",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13872367",
"found": true
},
"parent": 13872364,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274.jpg",
"width": 1024,
"height": 680
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274-1020x677.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 677
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1138969274-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1578084943,
"modified": 1578085115,
"caption": "L-R: Kevin Feige, Chris Hemsworth, Chris Evans, Robert Downey Jr., Scarlett Johansson, Jeremy Renner and Mark Ruffalo. The TCL Chinese Theatre, April 2019, Hollywood. ",
"description": "L-R: Kevin Feige, Chris Hemsworth, Chris Evans, Robert Downey Jr., Scarlett Johansson, Jeremy Renner and Mark Ruffalo. The TCL Chinese Theatre, April 2019, Hollywood. ",
"title": "L-R: Kevin Feige, Chris Hemsworth, Chris Evans, Robert Downey Jr., Scarlett Johansson, Jeremy Renner and Mark Ruffalo. The TCL Chinese Theatre, April 2019, Hollywood.",
"credit": "Alberto E. Rodriguez/Getty Images for Disney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13867417": {
"type": "attachments",
"id": "arts_13867417",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13867417",
"found": true
},
"parent": 13867392,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_12_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1569959977,
"modified": 1569968850,
"caption": "Cartoonist Tom Beland at Aroma Roasters in Santa Rosa. Beland considers the $300 he spends every month at Santa Rosa cafes \"studio rent.\"",
"description": "Cartoonist Tom Beland at Aroma Roasters in Santa Rosa. Beland considers the $300 he spends every month at Santa Rosa cafes \"studio rent.\"",
"title": "KQED_Tom_Beland_hires_12_COVER",
"credit": "Graham Holoch/KQED",
"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_13902724": {
"type": "authors",
"id": "byline_arts_13902724",
"meta": {
"override": true
},
"slug": "byline_arts_13902724",
"name": "Ashley Ng",
"isLoading": false
},
"byline_arts_13902658": {
"type": "authors",
"id": "byline_arts_13902658",
"meta": {
"override": true
},
"slug": "byline_arts_13902658",
"name": "Shannon Bond",
"isLoading": false
},
"byline_arts_13902238": {
"type": "authors",
"id": "byline_arts_13902238",
"meta": {
"override": true
},
"slug": "byline_arts_13902238",
"name": "Sharon Pruitt-Young",
"isLoading": false
},
"byline_arts_13897144": {
"type": "authors",
"id": "byline_arts_13897144",
"meta": {
"override": true
},
"slug": "byline_arts_13897144",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_13896299": {
"type": "authors",
"id": "byline_arts_13896299",
"meta": {
"override": true
},
"slug": "byline_arts_13896299",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13894194": {
"type": "authors",
"id": "byline_arts_13894194",
"meta": {
"override": true
},
"slug": "byline_arts_13894194",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13891309": {
"type": "authors",
"id": "byline_arts_13891309",
"meta": {
"override": true
},
"slug": "byline_arts_13891309",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13872364": {
"type": "authors",
"id": "byline_arts_13872364",
"meta": {
"override": true
},
"slug": "byline_arts_13872364",
"name": "Matthew S. Schwartz",
"isLoading": false
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"jrodriguez": {
"type": "authors",
"id": "11690",
"meta": {
"index": "authors_1716337520",
"id": "11690",
"found": true
},
"name": "Joe Fitzgerald Rodriguez",
"firstName": "Joe",
"lastName": "Fitzgerald Rodriguez",
"slug": "jrodriguez",
"email": "jrodriguez@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Reporter and Producer",
"bio": "Joe Fitzgerald Rodriguez is a reporter and digital producer for KQED covering politics. Joe most recently wrote for the \u003cem>San Francisco Examiner\u003c/em> as a political columnist covering The City. He was raised in San Francisco and has spent his reporting career in his beloved, foggy, city by the bay. Joe was 12-years-old when he conducted his first interview in journalism, grilling former San Francisco Mayor Willie Brown for the Marina Middle School newspaper, \u003cem>The Penguin Press, \u003c/em>and he continues to report on the San Francisco Bay Area to this day.",
"avatar": "https://secure.gravatar.com/avatar/2247beb0564c1e9c62228d5649d2edac?s=600&d=blank&r=g",
"twitter": "FitztheReporter",
"facebook": null,
"instagram": "https://www.instagram.com/fitzthereporter/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "elections",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Joe Fitzgerald Rodriguez | KQED",
"description": "Reporter and Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/2247beb0564c1e9c62228d5649d2edac?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2247beb0564c1e9c62228d5649d2edac?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jrodriguez"
}
},
"pagesReducer": {
"arts_tag_marvel": {
"type": "terms",
"id": "arts_3570",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3570",
"score": 9.55372
},
"featImg": null,
"name": "Marvel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marvel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3582,
"slug": "marvel",
"isLoading": false,
"title": "Marvel",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 2
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=marvel",
"seeMore": false,
"paginated": true,
"page": 2
}
},
{
"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_13902724": {
"type": "posts",
"id": "arts_13902724",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902724",
"score": null,
"sort": [
1631206833000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1631206833,
"format": "standard",
"title": "In Marvel’s ‘Shang-Chi,’ Asian Americans Are Heroes, Not Sidekicks",
"headTitle": "In Marvel’s ‘Shang-Chi,’ Asian Americans Are Heroes, Not Sidekicks | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">As an Asian American growing up in a predominantly white Bay Area community, I never saw much Asian representation, if any, in movies or on TV. When I did, Asian characters were always sidekicks who got minimal screen time and then never reappeared in sequels. With the exception of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Doctor Strange\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">’s Wong, played by Benedict Wong, and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spider-Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">’s Ned Leeds, played by Jacob Batalon, most Asian characters in superhero films are thrown into the background. Seeing these one-dimensional portrayals infuriates me because Asian Americans are incredibly diverse in terms of ethnicity, class, cultural background and language. There is no singular, defining Asian American experience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> shows none of the typical “model minority” stereotypes. The protagonist, Shang-Chi (Simu Liu), has a job as a valet driver for the Fairmont Hotel in San Francisco. He isn’t some hot-shot doctor or a successful lawyer; he parks cars for tips and lives in a garage in a back alley of the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His best friend, Katy, played by Awkwafina, lives with her mom, grandma and younger brother, and is also a Fairmont valet driver—a point of contention with her mother. Katy knows and understands some Chinese, but as we discover later in the film, she’s far from fluent. Shang-Chi and his sister, Xialing, played by Meng’er Zhang, understand and speak the language. These complex family and cultural dynamics are refreshing, and stand in contrast to the flat Asian characters we typically see in film.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film has all the characteristics of a classic Chinese martial arts film: well-choreographed fights that are almost like dances, the traditional Chinese music, accurate costumes (especially with the Ta Lo villagers) and even creatures from Chinese mythology. Simu Liu’s performance as Shang-Chi is raw and real. During the more serious and sad moments, you can tell what his character is feeling as his emotions emanate from the screen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It made me happy to see a Marvel film portray Asian characters with nuance, and even happier to know that this film is succeeding in the box office. People are embracing Shang-Chi the character, which is a big deal after all the violence Asians and Asian Americans have been through \u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">during the COVID-19 crisis\u003c/a>. [aside postid='arts_13902293']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just as 2018’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> gave America a Black superhero to root for, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> marks a major shift in popular culture. This film shows that Asian superheroes can exist as leads of their own stories. It reaffirms that we matter and that we are important, even though the U.S. entertainment industry has historically mocked or ignored us.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You don’t have to be a Marvel expert to appreciate \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, as it barely references previous films and can pretty much stand alone, other than the mid-end credits scene (no spoilers here). Instead, director Destin Daniel Cretton establishes the storylines of this band of characters and gets us prepared for more stories featuring Shang-Chi—and, perhaps most excitingly, his sister, Xialing. [aside postid='arts_13902470']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Xialing is fierce. While Shang-Chi trained with his father, Wenwu (played by Tony Leung), leader of the international criminal organization The Ten Rings\u003c/span>\u003cspan style=\"font-weight: 400\">, Xialing secretly taught herself to master the rope dart and other martial arts. While Shang-Chi is parking cars, she’s running an underground fight club in Macau. When we first meet her, she beats Shang-Chi in a cage fight, only a day after he demonstrated his own formidable skills while battling members of the Ten Rings on a \u003ca href=\"https://www.instagram.com/p/CTPx418FkL_/\" target=\"_blank\" rel=\"noopener noreferrer\">speeding San Francisco Muni bus\u003c/a>. Xialing gives young Asian girls a character to look up to; she proves to be just as powerful as her male counterparts in the film, if not more so. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The entire cast is no less stellar, and are among some of the best actors in the Marvel Cinematic Universe. Their performances and the brilliant choreography, music and set design make for a film that entertains and destroys stereotypes along the way.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 698,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705007777,
"excerpt": "The new superhero film entertains while destroying Hollywood clichés about class, language and culture along the way. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new superhero film entertains while destroying Hollywood clichés about class, language and culture along the way. ",
"title": "In Marvel’s ‘Shang-Chi,’ Asian Americans Are Heroes, Not Sidekicks | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Marvel’s ‘Shang-Chi,’ Asian Americans Are Heroes, Not Sidekicks",
"datePublished": "2021-09-09T10:00:33-07:00",
"dateModified": "2024-01-11T13:16:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-marvels-shang-chi-asian-americans-are-heroes-not-sidekicks",
"status": "publish",
"templateType": "standard",
"nprByline": "Ashley Ng",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13902724/in-marvels-shang-chi-asian-americans-are-heroes-not-sidekicks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As an Asian American growing up in a predominantly white Bay Area community, I never saw much Asian representation, if any, in movies or on TV. When I did, Asian characters were always sidekicks who got minimal screen time and then never reappeared in sequels. With the exception of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Doctor Strange\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">’s Wong, played by Benedict Wong, and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spider-Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">’s Ned Leeds, played by Jacob Batalon, most Asian characters in superhero films are thrown into the background. Seeing these one-dimensional portrayals infuriates me because Asian Americans are incredibly diverse in terms of ethnicity, class, cultural background and language. There is no singular, defining Asian American experience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> shows none of the typical “model minority” stereotypes. The protagonist, Shang-Chi (Simu Liu), has a job as a valet driver for the Fairmont Hotel in San Francisco. He isn’t some hot-shot doctor or a successful lawyer; he parks cars for tips and lives in a garage in a back alley of the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His best friend, Katy, played by Awkwafina, lives with her mom, grandma and younger brother, and is also a Fairmont valet driver—a point of contention with her mother. Katy knows and understands some Chinese, but as we discover later in the film, she’s far from fluent. Shang-Chi and his sister, Xialing, played by Meng’er Zhang, understand and speak the language. These complex family and cultural dynamics are refreshing, and stand in contrast to the flat Asian characters we typically see in film.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film has all the characteristics of a classic Chinese martial arts film: well-choreographed fights that are almost like dances, the traditional Chinese music, accurate costumes (especially with the Ta Lo villagers) and even creatures from Chinese mythology. Simu Liu’s performance as Shang-Chi is raw and real. During the more serious and sad moments, you can tell what his character is feeling as his emotions emanate from the screen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It made me happy to see a Marvel film portray Asian characters with nuance, and even happier to know that this film is succeeding in the box office. People are embracing Shang-Chi the character, which is a big deal after all the violence Asians and Asian Americans have been through \u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">during the COVID-19 crisis\u003c/a>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902293",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just as 2018’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> gave America a Black superhero to root for, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> marks a major shift in popular culture. This film shows that Asian superheroes can exist as leads of their own stories. It reaffirms that we matter and that we are important, even though the U.S. entertainment industry has historically mocked or ignored us.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You don’t have to be a Marvel expert to appreciate \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, as it barely references previous films and can pretty much stand alone, other than the mid-end credits scene (no spoilers here). Instead, director Destin Daniel Cretton establishes the storylines of this band of characters and gets us prepared for more stories featuring Shang-Chi—and, perhaps most excitingly, his sister, Xialing. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902470",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Xialing is fierce. While Shang-Chi trained with his father, Wenwu (played by Tony Leung), leader of the international criminal organization The Ten Rings\u003c/span>\u003cspan style=\"font-weight: 400\">, Xialing secretly taught herself to master the rope dart and other martial arts. While Shang-Chi is parking cars, she’s running an underground fight club in Macau. When we first meet her, she beats Shang-Chi in a cage fight, only a day after he demonstrated his own formidable skills while battling members of the Ten Rings on a \u003ca href=\"https://www.instagram.com/p/CTPx418FkL_/\" target=\"_blank\" rel=\"noopener noreferrer\">speeding San Francisco Muni bus\u003c/a>. Xialing gives young Asian girls a character to look up to; she proves to be just as powerful as her male counterparts in the film, if not more so. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The entire cast is no less stellar, and are among some of the best actors in the Marvel Cinematic Universe. Their performances and the brilliant choreography, music and set design make for a film that entertains and destroys stereotypes along the way.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902724/in-marvels-shang-chi-asian-americans-are-heroes-not-sidekicks",
"authors": [
"byline_arts_13902724"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_4672",
"arts_977",
"arts_3570"
],
"featImg": "arts_13902479",
"label": "arts"
},
"arts_13902658": {
"type": "posts",
"id": "arts_13902658",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902658",
"score": null,
"sort": [
1631046296000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1631046296,
"format": "standard",
"title": "Marvel's 'Shang-Chi' Smashes Labor Day Box Office Records With $71.4 Million Debut",
"headTitle": "Marvel’s ‘Shang-Chi’ Smashes Labor Day Box Office Records With $71.4 Million Debut | KQED",
"content": "\u003cp>Hollywood’s newest superhero is saving the day on-screen—and off.\u003c/p>\n\u003cp>The Marvel epic \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em> rang up an estimated $71.4 million at U.S. theaters between Friday and Sunday, according to tracking website \u003ca href=\"https://www.boxofficemojo.com/release/rl3490022913/?ref_=bo_hm_RECENT_WEEKEND_WIDGET_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Box Office Mojo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Disney, the film’s distributor, was expecting \u003cem>Shang-Chi \u003c/em>to sell another $12.1 million in tickets on Monday. But the film has already more than doubled the previous $30.6 million record for the full Labor Day weekend, including Monday, set by the horror flick \u003cem>Halloween \u003c/em>in 2007.\u003c/p>\n\u003cp>[aside postid='arts_13902470']Labor Day weekend is usually slow for movie theaters, industry analysts say, with most blockbusters released earlier in the summer—and attention shifting to the new school year and the start of college football season. The pandemic has made it even \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">tougher\u003c/a> to sell movie tickets, especially with the rise of the delta variant keeping some viewers home and forcing several movie openings to be delayed.\u003c/p>\n\u003cp>The weekend haul gives \u003cem>Shang-Chi\u003c/em> the second-highest box office opening for any film released during the pandemic, behind another Marvel Cinematic Universe installment, \u003cem>Black Widow\u003c/em>, which topped $80 million on its opening weekend in July.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Shang-Chi\u003c/em>‘s theatrical success is “the ultimate confidence-builder” for the industry, Paul Dergarabedian, a senior analyst at Comscore, \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-arts-and-entertainment-coronavirus-pandemic-labor-day-90a82b539712840e7874e405fe51d206\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Associated Press\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The film is Marvel’s first epic to star an \u003ca href=\"https://www.npr.org/2021/09/01/1032875594/shang-chi-review-marvels-1st-asian-superhero\" target=\"_blank\" rel=\"noopener noreferrer\">Asian hero\u003c/a>. It tells the story of the eponymous kung fu master who’s hiding from his warlord father by living undercover as a normal guy named Shaun in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unlike \u003cem>Black Widow\u003c/em>, which was released simultaneously in theaters and on the Disney+ streaming service, \u003cem>Shang-Chi \u003c/em>can only be watched on the big screen until October, when it’s expected to make its Disney+ debut.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel%27s+%27Shang-Chi%27+Smashes+Labor+Day+Box+Office+Records+With+%2471.4+Million+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 321,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705007783,
"excerpt": "The San Francisco superhero epic rang up a record-setting $71.4 million at U.S. theaters between Friday and Sunday.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The San Francisco superhero epic rang up a record-setting $71.4 million at U.S. theaters between Friday and Sunday.",
"title": "Marvel's 'Shang-Chi' Smashes Labor Day Box Office Records With $71.4 Million Debut | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Marvel's 'Shang-Chi' Smashes Labor Day Box Office Records With $71.4 Million Debut",
"datePublished": "2021-09-07T13:24:56-07:00",
"dateModified": "2024-01-11T13:16:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "marvels-shang-chi-smashes-labor-day-box-office-records-with-71-4-million-debut",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1034594239&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 06 Sep 2021 12:26:33 -0400",
"nprLastModifiedDate": "Mon, 06 Sep 2021 12:26:55 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/09/06/1034594239/marvels-shang-chi-smashes-labor-day-box-office-records-with-71-4-million-debut?ft=nprml&f=1034594239",
"nprImageAgency": "Getty Images for Disney",
"nprStoryId": "1034594239",
"nprByline": "Shannon Bond",
"sticky": false,
"nprImageCredit": "Ryan Emberley",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 06 Sep 2021 12:26:00 -0400",
"path": "/arts/13902658/marvels-shang-chi-smashes-labor-day-box-office-records-with-71-4-million-debut",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood’s newest superhero is saving the day on-screen—and off.\u003c/p>\n\u003cp>The Marvel epic \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em> rang up an estimated $71.4 million at U.S. theaters between Friday and Sunday, according to tracking website \u003ca href=\"https://www.boxofficemojo.com/release/rl3490022913/?ref_=bo_hm_RECENT_WEEKEND_WIDGET_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Box Office Mojo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Disney, the film’s distributor, was expecting \u003cem>Shang-Chi \u003c/em>to sell another $12.1 million in tickets on Monday. But the film has already more than doubled the previous $30.6 million record for the full Labor Day weekend, including Monday, set by the horror flick \u003cem>Halloween \u003c/em>in 2007.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902470",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Labor Day weekend is usually slow for movie theaters, industry analysts say, with most blockbusters released earlier in the summer—and attention shifting to the new school year and the start of college football season. The pandemic has made it even \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">tougher\u003c/a> to sell movie tickets, especially with the rise of the delta variant keeping some viewers home and forcing several movie openings to be delayed.\u003c/p>\n\u003cp>The weekend haul gives \u003cem>Shang-Chi\u003c/em> the second-highest box office opening for any film released during the pandemic, behind another Marvel Cinematic Universe installment, \u003cem>Black Widow\u003c/em>, which topped $80 million on its opening weekend in July.\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>Shang-Chi\u003c/em>‘s theatrical success is “the ultimate confidence-builder” for the industry, Paul Dergarabedian, a senior analyst at Comscore, \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-arts-and-entertainment-coronavirus-pandemic-labor-day-90a82b539712840e7874e405fe51d206\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Associated Press\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The film is Marvel’s first epic to star an \u003ca href=\"https://www.npr.org/2021/09/01/1032875594/shang-chi-review-marvels-1st-asian-superhero\" target=\"_blank\" rel=\"noopener noreferrer\">Asian hero\u003c/a>. It tells the story of the eponymous kung fu master who’s hiding from his warlord father by living undercover as a normal guy named Shaun in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unlike \u003cem>Black Widow\u003c/em>, which was released simultaneously in theaters and on the Disney+ streaming service, \u003cem>Shang-Chi \u003c/em>can only be watched on the big screen until October, when it’s expected to make its Disney+ debut.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel%27s+%27Shang-Chi%27+Smashes+Labor+Day+Box+Office+Records+With+%2471.4+Million+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902658/marvels-shang-chi-smashes-labor-day-box-office-records-with-71-4-million-debut",
"authors": [
"byline_arts_13902658"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_3114",
"arts_977",
"arts_3570"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902659",
"label": "arts_137"
},
"arts_13902470": {
"type": "posts",
"id": "arts_13902470",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902470",
"score": null,
"sort": [
1630688592000
]
},
"guestAuthors": [],
"slug": "shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
"publishDate": 1630688592,
"format": "standard",
"headTitle": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.[pullquote size=\"medium\" align=\"right\" citation=\"Phil Chin, Chinatown TRIP co-founder\"]‘What we need is for the (San Francisco Municipal Transportation Agency) to provide full-service levels and to ensure true safety on every single one of their trains and buses.’[/pullquote]\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13903050,arts_13902814,arts_13902724,arts_13906142']\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "With Marvel’s famous bus chase in theaters, we revisit the community fight behind the 1-California and other Chinatown bus lines.",
"status": "publish",
"parent": 0,
"modified": 1726759827,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 45,
"wordCount": 1857
},
"headData": {
"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy | KQED",
"description": "With Marvel’s famous bus chase in theaters, we revisit the community fight behind the 1-California and other Chinatown bus lines.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
"datePublished": "2021-09-03T10:03:12-07:00",
"dateModified": "2024-09-19T08:30:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "in-shang-chi-a-muni-line-made-possible-by-chinatown-community-advocacy",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\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>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘What we need is for the (San Francisco Municipal Transportation Agency) to provide full-service levels and to ensure true safety on every single one of their trains and buses.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Phil Chin, Chinatown TRIP co-founder",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903050,arts_13902814,arts_13902724,arts_13906142",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \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/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"authors": [
"11690"
],
"categories": [
"arts_1",
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_2654",
"arts_10342",
"arts_10278",
"arts_977",
"arts_3570",
"arts_7718",
"arts_1146",
"arts_19533"
],
"featImg": "arts_13902480",
"label": "arts"
},
"arts_13902238": {
"type": "posts",
"id": "arts_13902238",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902238",
"score": null,
"sort": [
1630444462000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1630444462,
"format": "standard",
"title": "Nia DaCosta is the First Black Female Director to Debut Atop the U.S. Box Office",
"headTitle": "Nia DaCosta is the First Black Female Director to Debut Atop the U.S. Box Office | KQED",
"content": "\u003cp>It’s a good week to be director Nia DaCosta. Not only did her new film, horror flick \u003ca href=\"https://www.npr.org/2021/06/28/1011082526/candyman-gets-an-update-and-the-horror-is-gentrification\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Candyman\u003c/em>\u003c/a>, have a spectacular opening weekend, she made history in the process, becoming the first Black female director to debut at No. 1 at the U.S. box office.\u003c/p>\n\u003cp>Before DaCosta, Ava DuVernay had come the closest to nabbing the top spot, \u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">opening at No. 2 in 2018\u003c/a> with \u003cem>A Wrinkle In Time\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Candyman\u003c/em>, an update of the classic 1992 horror film of the same name, opened in theaters nationwide on Friday and ended the weekend raking in more than $22 million, according to \u003ca href=\"https://www.boxofficemojo.com/release/rl1913030145/?ref_=bo_hm_rd\" target=\"_blank\" rel=\"noopener noreferrer\">Box Office Mojo\u003c/a>.\u003c/p>\n\u003cp>DaCosta’s \u003cem>Candyman\u003c/em> places the urban legend in contemporary Chicago, and stars Bay Area actor Yahya Abdul-Mateen II, who once worked as a San Francisco city planner. Abdul-Mateen II is probably most recognizable for his roles in \u003cem>The Trial of the Chicago 7\u003c/em> and HBO’s \u003cem>Watchmen. \u003c/em>Here he plays protagonist Anthony McCoy, an artist whose career aspirations lead him to dangerous places.\u003c/p>\n\u003cp>DaCosta directed and co-wrote the film with \u003cem>Get Out\u003c/em> director Jordan Peele and Win Rosenfeld, one of the executive producers of \u003cem>BlacKkKlansman\u003c/em>. Premiering alongside the film was a “\u003ca href=\"https://www.candymanmovie.com/impact/syllabus/\" target=\"_blank\" rel=\"noopener noreferrer\">social impact initiative\u003c/a>,” a campaign created to promote conversation around issues explored in the film, such as gentrification.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ikDJlfuU758\u003c/p>\n\u003cp>\u003cem>Candyman\u003c/em>‘s box office success and DaCosta’s historic accomplishment are especially impressive given the current climate. Movie theaters are still \u003ca href=\"https://www.npr.org/2021/06/18/1008039064/movie-theaters-face-challenges-after-a-year-of-massive-losses\" target=\"_blank\" rel=\"noopener noreferrer\">recovering\u003c/a>, as the pandemic drags on. Last year’s lockdowns \u003ca href=\"https://www.npr.org/2020/12/29/951208163/what-2020-was-like-for-the-movie-industry\" target=\"_blank\" rel=\"noopener noreferrer\">hit the film industry hard\u003c/a>, but as \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">theaters have reopened\u003c/a> over the last year with new safety measures in place, industry experts are predicting an eventual comeback.\u003c/p>\n\u003cp>[aside postid='arts_13888332']Next up for DaCosta? She’s joined the Marvel cinematic universe after having \u003ca href=\"https://deadline.com/2020/08/captain-marvel-sequel-nia-dacosta-director-1202992213/\" target=\"_blank\" rel=\"noopener noreferrer\">signed on\u003c/a> last year as director of \u003cem>The Marvels\u003c/em>, a sequel to 2019’s \u003cem>Captain Marvel\u003c/em> that’s currently in production, according to \u003cem>\u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline\u003c/a>\u003c/em>. It’s another history-making move for the 31-year-old director and screenwriter: \u003cem>The Marvels\u003c/em> will make her the first Black woman director to sit at the helm of a Marvel movie.\u003c/p>\n\u003cp>Moving from horror to action has been a refreshing change in theme, DaCosta said in an interview with \u003cem>\u003ca href=\"https://ew.com/movies/directors-notes-nia-dacosta-candyman-the-marvels/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>\u003c/em> last month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s a lot less traumatizing to work on for sure,” she said. “But this movie also deals with specific, personal, sometimes sad things. But … it’s been nice to work in a different world for sure.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nia+DaCosta+Is+The+1st+Black+Female+Director+To+Debut+Atop+The+U.S.+Box+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 454,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705007835,
"excerpt": "'Candyman'—starring Bay Area actor Yahya Abdul-Mateen II—made history as it raked in over $22 million in its opening weekend.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Candyman'—starring Bay Area actor Yahya Abdul-Mateen II—made history as it raked in over $22 million in its opening weekend.",
"title": "Nia DaCosta is the First Black Female Director to Debut Atop the U.S. Box Office | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nia DaCosta is the First Black Female Director to Debut Atop the U.S. Box Office",
"datePublished": "2021-08-31T14:14:22-07:00",
"dateModified": "2024-01-11T13:17:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nia-dacosta-is-the-first-black-female-director-to-debut-atop-the-u-s-box-office",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1032875813&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 31 Aug 2021 15:09:05 -0400",
"nprLastModifiedDate": "Tue, 31 Aug 2021 15:09:05 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/08/31/1032875813/nia-dacosta-is-the-1st-black-female-director-to-debut-atop-the-u-s-box-office?ft=nprml&f=1032875813",
"nprImageAgency": "Getty Images for Tribeca Film Fe",
"nprStoryId": "1032875813",
"nprByline": "Sharon Pruitt-Young",
"sticky": false,
"nprImageCredit": "Ilya S. Savenok",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 31 Aug 2021 15:09:00 -0400",
"path": "/arts/13902238/nia-dacosta-is-the-first-black-female-director-to-debut-atop-the-u-s-box-office",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a good week to be director Nia DaCosta. Not only did her new film, horror flick \u003ca href=\"https://www.npr.org/2021/06/28/1011082526/candyman-gets-an-update-and-the-horror-is-gentrification\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Candyman\u003c/em>\u003c/a>, have a spectacular opening weekend, she made history in the process, becoming the first Black female director to debut at No. 1 at the U.S. box office.\u003c/p>\n\u003cp>Before DaCosta, Ava DuVernay had come the closest to nabbing the top spot, \u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">opening at No. 2 in 2018\u003c/a> with \u003cem>A Wrinkle In Time\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Candyman\u003c/em>, an update of the classic 1992 horror film of the same name, opened in theaters nationwide on Friday and ended the weekend raking in more than $22 million, according to \u003ca href=\"https://www.boxofficemojo.com/release/rl1913030145/?ref_=bo_hm_rd\" target=\"_blank\" rel=\"noopener noreferrer\">Box Office Mojo\u003c/a>.\u003c/p>\n\u003cp>DaCosta’s \u003cem>Candyman\u003c/em> places the urban legend in contemporary Chicago, and stars Bay Area actor Yahya Abdul-Mateen II, who once worked as a San Francisco city planner. Abdul-Mateen II is probably most recognizable for his roles in \u003cem>The Trial of the Chicago 7\u003c/em> and HBO’s \u003cem>Watchmen. \u003c/em>Here he plays protagonist Anthony McCoy, an artist whose career aspirations lead him to dangerous places.\u003c/p>\n\u003cp>DaCosta directed and co-wrote the film with \u003cem>Get Out\u003c/em> director Jordan Peele and Win Rosenfeld, one of the executive producers of \u003cem>BlacKkKlansman\u003c/em>. Premiering alongside the film was a “\u003ca href=\"https://www.candymanmovie.com/impact/syllabus/\" target=\"_blank\" rel=\"noopener noreferrer\">social impact initiative\u003c/a>,” a campaign created to promote conversation around issues explored in the film, such as gentrification.\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/ikDJlfuU758'\n title='//www.youtube.com/embed/ikDJlfuU758'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Candyman\u003c/em>‘s box office success and DaCosta’s historic accomplishment are especially impressive given the current climate. Movie theaters are still \u003ca href=\"https://www.npr.org/2021/06/18/1008039064/movie-theaters-face-challenges-after-a-year-of-massive-losses\" target=\"_blank\" rel=\"noopener noreferrer\">recovering\u003c/a>, as the pandemic drags on. Last year’s lockdowns \u003ca href=\"https://www.npr.org/2020/12/29/951208163/what-2020-was-like-for-the-movie-industry\" target=\"_blank\" rel=\"noopener noreferrer\">hit the film industry hard\u003c/a>, but as \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">theaters have reopened\u003c/a> over the last year with new safety measures in place, industry experts are predicting an eventual comeback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13888332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Next up for DaCosta? She’s joined the Marvel cinematic universe after having \u003ca href=\"https://deadline.com/2020/08/captain-marvel-sequel-nia-dacosta-director-1202992213/\" target=\"_blank\" rel=\"noopener noreferrer\">signed on\u003c/a> last year as director of \u003cem>The Marvels\u003c/em>, a sequel to 2019’s \u003cem>Captain Marvel\u003c/em> that’s currently in production, according to \u003cem>\u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline\u003c/a>\u003c/em>. It’s another history-making move for the 31-year-old director and screenwriter: \u003cem>The Marvels\u003c/em> will make her the first Black woman director to sit at the helm of a Marvel movie.\u003c/p>\n\u003cp>Moving from horror to action has been a refreshing change in theme, DaCosta said in an interview with \u003cem>\u003ca href=\"https://ew.com/movies/directors-notes-nia-dacosta-candyman-the-marvels/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>\u003c/em> last month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s a lot less traumatizing to work on for sure,” she said. “But this movie also deals with specific, personal, sometimes sad things. But … it’s been nice to work in a different world for sure.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nia+DaCosta+Is+The+1st+Black+Female+Director+To+Debut+Atop+The+U.S.+Box+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902238/nia-dacosta-is-the-first-black-female-director-to-debut-atop-the-u-s-box-office",
"authors": [
"byline_arts_13902238"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_4161",
"arts_3570"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13902241",
"label": "arts_137"
},
"arts_13901046": {
"type": "posts",
"id": "arts_13901046",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13901046",
"score": null,
"sort": [
1628704283000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1628704283,
"format": "standard",
"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
"headTitle": "‘What If…?’ Gives the Marvel Universe an Animated Remix for Disney+ | KQED",
"content": "\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>[aside postid='arts_13896604']Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9D0uUKJ5KI\u003c/p>\n\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>[aside postid='arts_13891309']It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 796,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705007981,
"excerpt": "The animated anthology series boasts clever writing, fluid animation, and characters voiced mostly by the actors from the movies.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The animated anthology series boasts clever writing, fluid animation, and characters voiced mostly by the actors from the movies.",
"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
"datePublished": "2021-08-11T10:51:23-07:00",
"dateModified": "2024-01-11T13:19:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "what-if-gives-the-marvel-universe-an-animated-remix-for-disney",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1026349894&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 11 Aug 2021 05:01:00 -0400",
"nprLastModifiedDate": "Wed, 11 Aug 2021 05:01:00 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/08/11/1026349894/what-if-gives-the-marvel-cinematic-universe-an-animated-banger-of-a-remix?ft=nprml&f=1026349894",
"nprImageAgency": "Disney+",
"nprStoryId": "1026349894",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 11 Aug 2021 05:01:00 -0400",
"path": "/arts/13901046/what-if-gives-the-marvel-universe-an-animated-remix-for-disney",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13896604",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x9D0uUKJ5KI'\n title='//www.youtube.com/embed/x9D0uUKJ5KI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891309",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13901046/what-if-gives-the-marvel-universe-an-animated-remix-for-disney",
"authors": [
"92"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_4262",
"arts_8086",
"arts_11327",
"arts_7584",
"arts_3114",
"arts_3570"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13901047",
"label": "arts_137"
},
"arts_13897144": {
"type": "posts",
"id": "arts_13897144",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13897144",
"score": null,
"sort": [
1620937706000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1620937706,
"format": "standard",
"title": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies",
"headTitle": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies | KQED",
"content": "\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=faoUct00qec\u003c/p>\n\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13894499']And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdpxoFcdORI\u003c/p>\n\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 841,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705008383,
"excerpt": "Hollywood has started the back-to-cinemas drumroll—with Vin Diesel, Matthew McConaughey and Marvel superheroes leading the way.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Hollywood has started the back-to-cinemas drumroll—with Vin Diesel, Matthew McConaughey and Marvel superheroes leading the way.",
"title": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies",
"datePublished": "2021-05-13T13:28:26-07:00",
"dateModified": "2024-01-11T13:26:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "as-many-entertainment-venues-start-to-reopen-nobody-does-a-comeback-like-the-movies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=996473419&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Bob Mondello",
"nprStoryDate": "Thu, 13 May 2021 13:03:00 -0400",
"nprLastModifiedDate": "Thu, 13 May 2021 13:05:00 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/05/13/996473419/as-entertainment-venues-start-to-reopen-nobody-does-a-comeback-like-the-movies?ft=nprml&f=996473419",
"nprImageAgency": "YouTube",
"nprStoryId": "996473419",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 13 May 2021 13:05:00 -0400",
"path": "/arts/13897144/as-many-entertainment-venues-start-to-reopen-nobody-does-a-comeback-like-the-movies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\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/faoUct00qec'\n title='//www.youtube.com/embed/faoUct00qec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894499",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\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/QdpxoFcdORI'\n title='//www.youtube.com/embed/QdpxoFcdORI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13897144/as-many-entertainment-venues-start-to-reopen-nobody-does-a-comeback-like-the-movies",
"authors": [
"byline_arts_13897144"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_977",
"arts_3570",
"arts_6494",
"arts_10416"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13897145",
"label": "arts_137"
},
"arts_13896604": {
"type": "posts",
"id": "arts_13896604",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896604",
"score": null,
"sort": [
1619810434000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1619810434,
"format": "standard",
"title": "Chinaka Hodge Named Head Writer for Disney's 'Ironheart'",
"headTitle": "Chinaka Hodge Named Head Writer for Disney’s ‘Ironheart’ | KQED",
"content": "\u003cp>Disney+ has named Oakland native and screenwriter, poet, and playwright Chinaka Hodge as the head writer for its new \u003cem>Ironheart\u003c/em> series. Hodge was selected after pitching her vision for all six episodes of the show to Marvel. The writer’s room will open in May. \u003c/p>\n\u003cp>Born and raised in Oakland, Hodge graduated from New York University’s Gallatin School of Individualized Study in May of 2006. She has written multiple plays, including \u003cem>Mirrors in Every Corner\u003c/em> and \u003cem>Chasing Mehserle\u003c/em>, as well as two books, \u003cem>For Girls With Hips: Collected Poems and Writings\u003c/em> and \u003cem>Dated Emcees\u003c/em>. Her past writing credits include the TNT series adaptation of \u003cem>Snowpiercer\u003c/em> starring her friend, longtime collaborator, and fellow Oakland native Daveed Diggs, as well as the Apple reboot of \u003cem>Amazing Stories\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13798311']Hodge previously partnered with Shang-Chi and \u003cem>Legend of the Ten Rings\u003c/em> director Destin Daniel Cretton and \u003cem>Black Panther\u003c/em> director Ryan Coogler to develop the television drama series \u003cem>Minors\u003c/em>, which draws on Coogler and Hodge’s experiences growing up in the Bay and working with underserved youth. \u003c/p>\n\u003cp>Dominique Thorne will star in \u003cem>Ironheart\u003c/em> as Marvel character Riri Williams, an inventive 15-year-old MIT student who reverse-engineers Iron Man’s armor to create her own suit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 212,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705019089,
"excerpt": "The Oakland-raised screenwriter, poet, and playwright will shape the series, based on Riri Williams.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Oakland-raised screenwriter, poet, and playwright will shape the series, based on Riri Williams.",
"title": "Chinaka Hodge Named Head Writer for Disney's 'Ironheart' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Chinaka Hodge Named Head Writer for Disney's 'Ironheart'",
"datePublished": "2021-04-30T12:20:34-07:00",
"dateModified": "2024-01-11T16:24:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "chinaka-hodge-named-head-writer-for-disneys-ironheart",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13896604/chinaka-hodge-named-head-writer-for-disneys-ironheart",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disney+ has named Oakland native and screenwriter, poet, and playwright Chinaka Hodge as the head writer for its new \u003cem>Ironheart\u003c/em> series. Hodge was selected after pitching her vision for all six episodes of the show to Marvel. The writer’s room will open in May. \u003c/p>\n\u003cp>Born and raised in Oakland, Hodge graduated from New York University’s Gallatin School of Individualized Study in May of 2006. She has written multiple plays, including \u003cem>Mirrors in Every Corner\u003c/em> and \u003cem>Chasing Mehserle\u003c/em>, as well as two books, \u003cem>For Girls With Hips: Collected Poems and Writings\u003c/em> and \u003cem>Dated Emcees\u003c/em>. Her past writing credits include the TNT series adaptation of \u003cem>Snowpiercer\u003c/em> starring her friend, longtime collaborator, and fellow Oakland native Daveed Diggs, as well as the Apple reboot of \u003cem>Amazing Stories\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13798311",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hodge previously partnered with Shang-Chi and \u003cem>Legend of the Ten Rings\u003c/em> director Destin Daniel Cretton and \u003cem>Black Panther\u003c/em> director Ryan Coogler to develop the television drama series \u003cem>Minors\u003c/em>, which draws on Coogler and Hodge’s experiences growing up in the Bay and working with underserved youth. \u003c/p>\n\u003cp>Dominique Thorne will star in \u003cem>Ironheart\u003c/em> as Marvel character Riri Williams, an inventive 15-year-old MIT student who reverse-engineers Iron Man’s armor to create her own suit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896604/chinaka-hodge-named-head-writer-for-disneys-ironheart",
"authors": [
"185"
],
"categories": [
"arts_1"
],
"tags": [
"arts_3114",
"arts_3570",
"arts_1143",
"arts_1496",
"arts_9555"
],
"featImg": "arts_13896611",
"label": "arts"
},
"arts_13896299": {
"type": "posts",
"id": "arts_13896299",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896299",
"score": null,
"sort": [
1619216996000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1619216996,
"format": "standard",
"title": "'The Falcon and the Winter Soldier' Finale Makes a Poignant Reveal",
"headTitle": "‘The Falcon and the Winter Soldier’ Finale Makes a Poignant Reveal | KQED",
"content": "\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>[aside postid='arts_13891309']The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>[aside postid='arts_13894194']This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>[aside postid='arts_13866218']I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1119,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705019117,
"excerpt": "The final episode of the first season of Marvel's Disney+ series dropped Friday—along with a timely surprise.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The final episode of the first season of Marvel's Disney+ series dropped Friday—along with a timely surprise.",
"title": "'The Falcon and the Winter Soldier' Finale Makes a Poignant Reveal | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Falcon and the Winter Soldier' Finale Makes a Poignant Reveal",
"datePublished": "2021-04-23T15:29:56-07:00",
"dateModified": "2024-01-11T16:25:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-falcon-and-the-winter-soldier-finale-makes-a-poignant-reveal",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=989552947&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 23 Apr 2021 16:31:45 -0400",
"nprLastModifiedDate": "Fri, 23 Apr 2021 16:32:05 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/04/23/989552947/the-falcon-and-the-winter-soldier-finale-makes-a-poignant-reveal?ft=nprml&f=989552947",
"nprImageAgency": "Marvel Studios",
"nprStoryId": "989552947",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Chuck Zlotnick",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 23 Apr 2021 16:31:00 -0400",
"path": "/arts/13896299/the-falcon-and-the-winter-soldier-finale-makes-a-poignant-reveal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891309",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894194",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13866218",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\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 this Black superhero comics nerd can’t wait to see him try.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896299/the-falcon-and-the-winter-soldier-finale-makes-a-poignant-reveal",
"authors": [
"byline_arts_13896299"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_7584",
"arts_3570"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896300",
"label": "arts_137"
},
"arts_13894194": {
"type": "posts",
"id": "arts_13894194",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13894194",
"score": null,
"sort": [
1616092810000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1616092810,
"format": "standard",
"title": "Here at Long (Really Long) Last, 'Zack Snyder's Justice League' is ... Pretty Good?",
"headTitle": "Here at Long (Really Long) Last, ‘Zack Snyder’s Justice League’ is … Pretty Good? | KQED",
"content": "\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vM-Bja2Gy04\u003c/p>\n\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1336,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1705019328,
"excerpt": "Despite being an eye-popping four hours long, 'Zach Snyder's Justice League' is a stronger film than Joss Whedon's 2017 version.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Despite being an eye-popping four hours long, 'Zach Snyder's Justice League' is a stronger film than Joss Whedon's 2017 version.",
"title": "Here at Long (Really Long) Last, 'Zack Snyder's Justice League' is ... Pretty Good? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Here at Long (Really Long) Last, 'Zack Snyder's Justice League' is ... Pretty Good?",
"datePublished": "2021-03-18T11:40:10-07:00",
"dateModified": "2024-01-11T16:28:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=978227026&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 18 Mar 2021 07:04:24 -0400",
"nprLastModifiedDate": "Thu, 18 Mar 2021 07:04:24 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/03/18/978227026/here-at-long-really-long-last-zack-snyders-justice-league-is-not-bad?ft=nprml&f=978227026",
"nprImageAgency": "HBO Max",
"nprStoryId": "978227026",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Clay Enos",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Mar 2021 07:04:00 -0400",
"path": "/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\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>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\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/vM-Bja2Gy04'\n title='//www.youtube.com/embed/vM-Bja2Gy04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\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>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good",
"authors": [
"byline_arts_13894194"
],
"categories": [
"arts_1",
"arts_74",
"arts_990"
],
"tags": [
"arts_1942",
"arts_977",
"arts_8350",
"arts_3570"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13894195",
"label": "arts_137"
},
"arts_13891309": {
"type": "posts",
"id": "arts_13891309",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13891309",
"score": null,
"sort": [
1610737503000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1610737503,
"format": "standard",
"title": "'WandaVision': The Next Era of the MCU Will Be Televised",
"headTitle": "‘WandaVision’: The Next Era of the MCU Will Be Televised | KQED",
"content": "\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. [aside postid='pop_109932']\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sj9J2ecsSpo\u003c/p>\n\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. [aside postid='arts_13872364']\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1166,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705019639,
"excerpt": "The latest entry in the Marvel Cinematic Universe fits the TV screen—and pays loving homage to sitcoms in the process.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The latest entry in the Marvel Cinematic Universe fits the TV screen—and pays loving homage to sitcoms in the process.",
"title": "'WandaVision': The Next Era of the MCU Will Be Televised | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'WandaVision': The Next Era of the MCU Will Be Televised",
"datePublished": "2021-01-15T11:05:03-08:00",
"dateModified": "2024-01-11T16:33:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wandavision-the-next-era-of-the-mcu-will-be-televised",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=956446267&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Glen Weldon",
"nprStoryDate": "Fri, 15 Jan 2021 07:01:08 -0500",
"nprLastModifiedDate": "Fri, 15 Jan 2021 07:41:36 -0500",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/01/15/956446267/wandavision-the-next-era-of-the-mcu-will-be-televised?ft=nprml&f=956446267",
"nprImageAgency": "Marvel Studios",
"nprStoryId": "956446267",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 15 Jan 2021 07:41:00 -0500",
"path": "/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_109932",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\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 trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\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/sj9J2ecsSpo'\n title='//www.youtube.com/embed/sj9J2ecsSpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13872364",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\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>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised",
"authors": [
"byline_arts_13891309"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_3114",
"arts_977",
"arts_3570"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13891310",
"label": "arts_137"
},
"arts_13872364": {
"type": "posts",
"id": "arts_13872364",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13872364",
"score": null,
"sort": [
1578085275000
]
},
"guestAuthors": [],
"slug": "marvel-cinematic-universe-to-get-first-trans-character",
"title": "Marvel Cinematic Universe to Get First Trans Character",
"publishDate": 1578085275,
"format": "standard",
"headTitle": "Marvel Cinematic Universe to Get First Trans Character | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1395&v=d_P8V6KPnoc&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The movie is shooting \"right now,\" Marvel Studios president Kevin Feige said at the New York Film Academy. Marvel's goal, Feige says, is to \"represent the world.\"",
"status": "publish",
"parent": 0,
"modified": 1741366985,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 658
},
"headData": {
"title": "Marvel Cinematic Universe to Get First Trans Character | KQED",
"description": "The movie is shooting "right now," Marvel Studios president Kevin Feige said at the New York Film Academy. Marvel's goal, Feige says, is to "represent the world."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Marvel Cinematic Universe to Get First Trans Character",
"datePublished": "2020-01-03T13:01:15-08:00",
"dateModified": "2025-03-07T09:03:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Matthew S. Schwartz",
"nprStoryId": "793093070",
"nprApiLink": "http://api.npr.org/query?id=793093070&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2020/01/02/793093070/marvel-universe-to-get-first-trans-character?ft=nprml&f=793093070",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Jan 2020 17:54:00 -0500",
"nprStoryDate": "Thu, 02 Jan 2020 17:20:32 -0500",
"nprLastModifiedDate": "Thu, 02 Jan 2020 17:54:15 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13872364/marvel-cinematic-universe-to-get-first-trans-character",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_P8V6KPnoc'\n title='//www.youtube.com/embed/d_P8V6KPnoc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13872364/marvel-cinematic-universe-to-get-first-trans-character",
"authors": [
"byline_arts_13872364"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_7584",
"arts_3226",
"arts_3570",
"arts_9555",
"arts_702"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13872367",
"label": "arts_137"
},
"arts_13867392": {
"type": "posts",
"id": "arts_13867392",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13867392",
"score": null,
"sort": [
1569970532000
]
},
"guestAuthors": [],
"slug": "a-cartoonist-balancing-freelance-work-and-a-day-job-on-a-shoestring-budget",
"title": "A Cartoonist Balancing Freelance Work and a Day Job on a Shoestring Budget",
"publishDate": 1569970532,
"format": "image",
"headTitle": "A Cartoonist Balancing Freelance Work and a Day Job on a Shoestring Budget | KQED",
"labelTerm": {
"term": 4525,
"site": "arts"
},
"content": "\u003cp>\u003cem>I should take off my Spider-Man hoodie, shouldn’t I?\u003c/em>\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $800/month\u003c/li>\n\u003cli>Internet: $100/month\u003c/li>\n\u003cli>Coffee: $300/month\u003c/li>\n\u003cli>Comic shop income: $1,200/month\u003c/li>\n\u003cli>Teaching income: $100–$250/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tommybeland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Tom Beland\u003c/a> was walking up to the front door, and he was still second-guessing his wardrobe. He’d been desperately trying to find a place to live in Santa Rosa during a seemingly never-ending housing crisis. He knew he should probably appear professional to the landlord renting the room.\u003c/p>\n\u003cp>\u003cem>Screw it\u003c/em>, Beland thought, as he knocked on the door. \u003cem>I’ll leave the hoodie on\u003c/em>.\u003c/p>\n\u003cp>The door opened. The house, he quickly noticed, was filled with \u003cem>Star Wars\u003c/em> memorabilia. The guy renting out the room couldn’t care less about a Spider-Man hoodie, and the room was a steal: large, with its own side entrance, for only $800 a month. Beland assumed it’d be rented to a single mom or someone displaced by eviction. When he got the call that he could have it, “I got emotional, right there in my car,” he recalls.\u003c/p>\n\u003cp>The thing is, Beland \u003cem>was\u003c/em> appearing professional by wearing his hoodie. After all, he’d worked on \u003cem>Spider-Man\u003c/em>. For Marvel.\u003c/p>\n\u003cfigure id=\"attachment_13867416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg\" alt=\"Beland holding up drawings from 'Chicacabra,' a comic optioned by Selena Gomez.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland holding up drawings from ‘Chicacabra,’ a comic optioned by Selena Gomez. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From autobiographical zines to movie options\u003c/h2>\n\u003cp>Beland, 57, is a cartoonist. That means he draws pretty much constantly. During his downtime working at Outer Planes, a Santa Rosa comic book store, he draws. He teaches drawing classes to young students, where he draws, and picks up freelance gigs, for which he draws. Lately he’s been going to steampunk circus-type events, studying the performers, who he draws. Often, he’ll be at a local cafe every day, where he sits, and draws.\u003c/p>\n\u003cp>Beland lives a city that was home to the world’s most famous cartoonist, Charles Schulz, whose presence lingers throughout Santa Rosa in roadside statues of his \u003cem>Peanuts\u003c/em> characters and a museum bearing his name. But the landscape for comics has changed considerably since Schulz’s day.\u003c/p>\n\u003cp>Along with his $800 rent in the Roseland neighborhood of Santa Rosa, Beland estimates his other major living expenses are internet at $100 a month, and coffee at the cafes where he draws (“that’s my studio rent,” he quips)—$300 a month on average. Working primarily on an iPad now, he doesn’t have to buy many art supplies, and he avoids paying for TV by watching bootleg NBA streams on Reddit. Sometimes, he’ll get free coffee or food from waitresses or cooks who know him as the cartoonist guy who leaves clever drawings of the staff with his bill.\u003c/p>\n\u003cfigure id=\"attachment_13867442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg\" alt=\"Beland working at Brew, a cafe in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beland working at Brew, a cafe in Santa Rosa. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beland’s day job at the comic book store still provides the most income: about $1,200 a month on average, he says. The money from the lessons he teaches ranges from $100–$250 a month. The rest of his income ebbs and flows from various sources.\u003c/p>\n\u003cp>Beland has freelanced for Marvel, DC and Bongo; his byline is on comic books of \u003cem>Fantastic Four\u003c/em>, \u003cem>Wolverine\u003c/em>, \u003cem>Avengers\u003c/em> and \u003cem>The Simpsons\u003c/em>. When Beland first \u003ca href=\"https://www.marvel.com/comics/creators/726/tom_beland\" rel=\"noopener noreferrer\" target=\"_blank\">got asked to write \u003cem>Spider-Man\u003c/em> comic books\u003c/a> for Marvel, it was a dream come true: his own parents died when he was young, and reading \u003cem>Spider-Man\u003c/em>, the orphaned superhero, helped him through the pain.\u003c/p>\n\u003cp>“It’s one thing to read these characters, but when they’re saying words that came out of your head, it’s crazy,” he says. “I never thought I could love Spider-Man more than when I got to write Spider-Man.”\u003c/p>\n\u003cp>For his most recent \u003cem>Spider-Man\u003c/em> work in 2009, Beland got $170 per page—half for coming up with the story idea, or “plotting,” and half for writing. (Under his \u003cem>Spider-Man\u003c/em> deal, he gets royalties if the comics go to paperback. For \u003cem>The Simpsons\u003c/em>, he was paid $200 a page, but with no royalty option.)\u003c/p>\n\u003cfigure id=\"attachment_13867415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg\" alt=\"Beland's pantry holds food and stacks of drawings.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland’s pantry holds food and stacks of drawings. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Beland’s own books, his first was \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/2068084.True_Story_Swear_To_God_Archives_Volume_1_True_Story_Swear_to_God\" rel=\"noopener noreferrer\" target=\"_blank\">True Story Swear to God\u003c/a>\u003c/em>, which started as a comic strip in his hometown newspaper in Napa, the \u003cem>Napa Valley Register\u003c/em>, where he was on staff for 17 years. Initially photocopying the autobiographical comics in zine form with a cover price of $2.25 each, they were then anthologized in a book that garnered six nominations at the Eisner Awards, the highest honor in cartooning. The publishing rights now belong to Image Comics, which has kept it in print, although Beland has yet to recoup royalties from it.\u003c/p>\n\u003cp>Beland’s latest book, \u003cem>\u003ca href=\"https://www.idwpublishing.com/product/chicacabra/\" rel=\"noopener noreferrer\" target=\"_blank\">Chicacabra\u003c/a>\u003c/em>, also has yet to get out of the red. But it landed in the hands of pop star Selena Gomez, who loved the story so much she optioned it for a movie. An option doesn’t necessarily mean the film will get made; only that the one paying for the option has dibs on making it. And the pay can be good. Beland’s first option check for \u003cem>Chicacabra\u003c/em> was for $5,000. A second check came within the year, again for $5,000. He’s expecting a $10,000 check soon for another option renewal. \u003c/p>\n\u003cp>\u003cem>Chicacabra\u003c/em> follows the adventures of a Puerto Rican high school student, Isabel Sanchez, who after family tragedy discovers a mysterious, literal demon living inside of her body. “I made three demands,” Beland says of the option deal. “That she stay Puerto Rican, if possible, that I want an all-Latino crew, and that I want women on the writing staff. And I got all three.”\u003c/p>\n\u003cp>For Beland—who, like Gomez, openly wrestles with depression—the checks are an unexpected bonus to something he wrote five years ago. Like writing for \u003cem>Spider-Man\u003c/em>, though, it’s more than the money. \u003c/p>\n\u003cp>“I can see why Selena grabbed that character,” Beland says. “She’s dark, she’s broken, she’s shattered.”\u003c/p>\n\u003cfigure id=\"attachment_13867418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg\" alt=\"Beland now uses an iPad and stylus to do all his drawing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland now uses an iPad and stylus to do all his drawing. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An unexpected windfall and a viral hit\u003c/h2>\n\u003cp>A couple years ago, Beland himself was broken and shattered. On his way to his job at the comic book store, he was hit by a car on his scooter. He broke two ribs and shattered his elbow. He nearly settled for $5,000 when a former editor convinced him to talk to a lawyer.\u003c/p>\n\u003cp>“It was a year and a half of walking two miles from home to the comic shop,” Beland says. “I couldn’t afford bus fare every day. Food was minimum of bologna sandwiches every day.” (He still keeps a modest pantry—canned soup, white bread, Twinkies—inside an armoire in his room.)\u003c/p>\n\u003cp>The other driver’s insurance company eventually paid $75,000. After the lawyers took their cut, and Beland bought a new car, a comfortable pad of about $20,000 remained in the bank. Having no other savings or retirement investments, he’s tried not to touch it.\u003c/p>\n\u003cp>The iPad, something he once swore he’d never use, is an exception. It cost about $1,000, the special stylus another $100. For Beland, it felt wrong, spending so much money. “I don’t buy things like that. I’d been poor for four years,” he says. “I felt guilty when I bought it.”\u003c/p>\n\u003cfigure id=\"attachment_13867454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg\" alt=\"Stacks of comics and drawings abound in Tom Beland's $800/month room in a shared Santa Rosa house.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacks of comics and drawings abound in Tom Beland’s $800/month room in a shared Santa Rosa house. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon, he was drawing on it nonstop (“I was like Wayne Gretzky the first time he put skates on,” he jokes), and the digital nature of the iPad has allowed him to sell portraits at circus and burlesque shows quickly and cheaply, for $15–$40 each. \u003c/p>\n\u003cp>Some of Beland’s work doesn’t pay at all. Recently he contributed a two-page story sharply critical of Trump to \u003cem>\u003ca href=\"https://www.lionforge.com/puerto-rico-strong/\" rel=\"noopener noreferrer\" target=\"_blank\">Puerto Rico Strong\u003c/a>\u003c/em>, which won an Eisner Award for Best Anthology. The proceeds went to hurricane relief on the island, where Beland lived and called home for 20 years.\u003c/p>\n\u003cp>But Beland’s most-viewed drawing was one he did in about 15 minutes. In 2018, he’d just seen \u003cem>Black Panther\u003c/em> at the movie theater, where he saw some African American children in the lobby pointing at the movie poster, saying “That’s me.” He sketched the scene, posted it on Facebook, and it quickly went viral. After Michael B. Jordan, one of the film’s stars, reposted it, Marvel got in touch asking to use it as a special variant cover for the \u003cem>Black Panther\u003c/em> comic book.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bfo4cOWHEw7/\u003c/p>\n\u003cp>Marvel paid him $650 for the sketch. But again, it was about more than the money. Beland was flown around the country for signings, and “I got hugged by a lot of people,” he says. “There were some real emotional moments.”\u003c/p>\n\u003cp>For the time being, Beland wants to stay in the Bay Area, despite the high cost of living. His brother lives here, “and he’s everything to me,” he says.[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>And having been in the business for over 30 years, he has some advice for up-and-coming cartoonists.\u003c/p>\n\u003cp>“You better be ready to grind,” he says. “If you’re going to be a pro baseball player, you’re not going from high school to the Yankees. You’re on a bus. If you’re doing comedy, you’re in a car, you’re going to go to some hotel that’s horrendous, and you maybe get 25 bucks.”\u003c/p>\n\u003cp>“But,” Beland continues, “it gets you to that gig that’s really interesting. And it gives you the jones to go back and do that next thing. That’s what I’m always looking for. The next thing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "For Tom Beland, who draws nonstop to afford living in Santa Rosa, it's about more than the money.",
"status": "publish",
"parent": 0,
"modified": 1726766130,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 33,
"wordCount": 1782
},
"headData": {
"title": "A Cartoonist Balancing Freelance Work and a Day Job on a Shoestring Budget | KQED",
"description": "For Tom Beland, who draws nonstop to afford living in Santa Rosa, it's about more than the money.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Cartoonist Balancing Freelance Work and a Day Job on a Shoestring Budget",
"datePublished": "2019-10-01T15:55:32-07:00",
"dateModified": "2024-09-19T10:15:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13867392/a-cartoonist-balancing-freelance-work-and-a-day-job-on-a-shoestring-budget",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>I should take off my Spider-Man hoodie, shouldn’t I?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $800/month\u003c/li>\n\u003cli>Internet: $100/month\u003c/li>\n\u003cli>Coffee: $300/month\u003c/li>\n\u003cli>Comic shop income: $1,200/month\u003c/li>\n\u003cli>Teaching income: $100–$250/month\u003c/li>\n\u003c/ul>\n\u003cp>",
"name": "pullquote",
"attributes": {
"named": {
"align": "right",
"size": "small",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tommybeland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Tom Beland\u003c/a> was walking up to the front door, and he was still second-guessing his wardrobe. He’d been desperately trying to find a place to live in Santa Rosa during a seemingly never-ending housing crisis. He knew he should probably appear professional to the landlord renting the room.\u003c/p>\n\u003cp>\u003cem>Screw it\u003c/em>, Beland thought, as he knocked on the door. \u003cem>I’ll leave the hoodie on\u003c/em>.\u003c/p>\n\u003cp>The door opened. The house, he quickly noticed, was filled with \u003cem>Star Wars\u003c/em> memorabilia. The guy renting out the room couldn’t care less about a Spider-Man hoodie, and the room was a steal: large, with its own side entrance, for only $800 a month. Beland assumed it’d be rented to a single mom or someone displaced by eviction. When he got the call that he could have it, “I got emotional, right there in my car,” he recalls.\u003c/p>\n\u003cp>The thing is, Beland \u003cem>was\u003c/em> appearing professional by wearing his hoodie. After all, he’d worked on \u003cem>Spider-Man\u003c/em>. For Marvel.\u003c/p>\n\u003cfigure id=\"attachment_13867416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg\" alt=\"Beland holding up drawings from 'Chicacabra,' a comic optioned by Selena Gomez.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland holding up drawings from ‘Chicacabra,’ a comic optioned by Selena Gomez. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From autobiographical zines to movie options\u003c/h2>\n\u003cp>Beland, 57, is a cartoonist. That means he draws pretty much constantly. During his downtime working at Outer Planes, a Santa Rosa comic book store, he draws. He teaches drawing classes to young students, where he draws, and picks up freelance gigs, for which he draws. Lately he’s been going to steampunk circus-type events, studying the performers, who he draws. Often, he’ll be at a local cafe every day, where he sits, and draws.\u003c/p>\n\u003cp>Beland lives a city that was home to the world’s most famous cartoonist, Charles Schulz, whose presence lingers throughout Santa Rosa in roadside statues of his \u003cem>Peanuts\u003c/em> characters and a museum bearing his name. But the landscape for comics has changed considerably since Schulz’s day.\u003c/p>\n\u003cp>Along with his $800 rent in the Roseland neighborhood of Santa Rosa, Beland estimates his other major living expenses are internet at $100 a month, and coffee at the cafes where he draws (“that’s my studio rent,” he quips)—$300 a month on average. Working primarily on an iPad now, he doesn’t have to buy many art supplies, and he avoids paying for TV by watching bootleg NBA streams on Reddit. Sometimes, he’ll get free coffee or food from waitresses or cooks who know him as the cartoonist guy who leaves clever drawings of the staff with his bill.\u003c/p>\n\u003cfigure id=\"attachment_13867442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg\" alt=\"Beland working at Brew, a cafe in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beland working at Brew, a cafe in Santa Rosa. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beland’s day job at the comic book store still provides the most income: about $1,200 a month on average, he says. The money from the lessons he teaches ranges from $100–$250 a month. The rest of his income ebbs and flows from various sources.\u003c/p>\n\u003cp>Beland has freelanced for Marvel, DC and Bongo; his byline is on comic books of \u003cem>Fantastic Four\u003c/em>, \u003cem>Wolverine\u003c/em>, \u003cem>Avengers\u003c/em> and \u003cem>The Simpsons\u003c/em>. When Beland first \u003ca href=\"https://www.marvel.com/comics/creators/726/tom_beland\" rel=\"noopener noreferrer\" target=\"_blank\">got asked to write \u003cem>Spider-Man\u003c/em> comic books\u003c/a> for Marvel, it was a dream come true: his own parents died when he was young, and reading \u003cem>Spider-Man\u003c/em>, the orphaned superhero, helped him through the pain.\u003c/p>\n\u003cp>“It’s one thing to read these characters, but when they’re saying words that came out of your head, it’s crazy,” he says. “I never thought I could love Spider-Man more than when I got to write Spider-Man.”\u003c/p>\n\u003cp>For his most recent \u003cem>Spider-Man\u003c/em> work in 2009, Beland got $170 per page—half for coming up with the story idea, or “plotting,” and half for writing. (Under his \u003cem>Spider-Man\u003c/em> deal, he gets royalties if the comics go to paperback. For \u003cem>The Simpsons\u003c/em>, he was paid $200 a page, but with no royalty option.)\u003c/p>\n\u003cfigure id=\"attachment_13867415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg\" alt=\"Beland's pantry holds food and stacks of drawings.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland’s pantry holds food and stacks of drawings. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Beland’s own books, his first was \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/2068084.True_Story_Swear_To_God_Archives_Volume_1_True_Story_Swear_to_God\" rel=\"noopener noreferrer\" target=\"_blank\">True Story Swear to God\u003c/a>\u003c/em>, which started as a comic strip in his hometown newspaper in Napa, the \u003cem>Napa Valley Register\u003c/em>, where he was on staff for 17 years. Initially photocopying the autobiographical comics in zine form with a cover price of $2.25 each, they were then anthologized in a book that garnered six nominations at the Eisner Awards, the highest honor in cartooning. The publishing rights now belong to Image Comics, which has kept it in print, although Beland has yet to recoup royalties from it.\u003c/p>\n\u003cp>Beland’s latest book, \u003cem>\u003ca href=\"https://www.idwpublishing.com/product/chicacabra/\" rel=\"noopener noreferrer\" target=\"_blank\">Chicacabra\u003c/a>\u003c/em>, also has yet to get out of the red. But it landed in the hands of pop star Selena Gomez, who loved the story so much she optioned it for a movie. An option doesn’t necessarily mean the film will get made; only that the one paying for the option has dibs on making it. And the pay can be good. Beland’s first option check for \u003cem>Chicacabra\u003c/em> was for $5,000. A second check came within the year, again for $5,000. He’s expecting a $10,000 check soon for another option renewal. \u003c/p>\n\u003cp>\u003cem>Chicacabra\u003c/em> follows the adventures of a Puerto Rican high school student, Isabel Sanchez, who after family tragedy discovers a mysterious, literal demon living inside of her body. “I made three demands,” Beland says of the option deal. “That she stay Puerto Rican, if possible, that I want an all-Latino crew, and that I want women on the writing staff. And I got all three.”\u003c/p>\n\u003cp>For Beland—who, like Gomez, openly wrestles with depression—the checks are an unexpected bonus to something he wrote five years ago. Like writing for \u003cem>Spider-Man\u003c/em>, though, it’s more than the money. \u003c/p>\n\u003cp>“I can see why Selena grabbed that character,” Beland says. “She’s dark, she’s broken, she’s shattered.”\u003c/p>\n\u003cfigure id=\"attachment_13867418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg\" alt=\"Beland now uses an iPad and stylus to do all his drawing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland now uses an iPad and stylus to do all his drawing. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An unexpected windfall and a viral hit\u003c/h2>\n\u003cp>A couple years ago, Beland himself was broken and shattered. On his way to his job at the comic book store, he was hit by a car on his scooter. He broke two ribs and shattered his elbow. He nearly settled for $5,000 when a former editor convinced him to talk to a lawyer.\u003c/p>\n\u003cp>“It was a year and a half of walking two miles from home to the comic shop,” Beland says. “I couldn’t afford bus fare every day. Food was minimum of bologna sandwiches every day.” (He still keeps a modest pantry—canned soup, white bread, Twinkies—inside an armoire in his room.)\u003c/p>\n\u003cp>The other driver’s insurance company eventually paid $75,000. After the lawyers took their cut, and Beland bought a new car, a comfortable pad of about $20,000 remained in the bank. Having no other savings or retirement investments, he’s tried not to touch it.\u003c/p>\n\u003cp>The iPad, something he once swore he’d never use, is an exception. It cost about $1,000, the special stylus another $100. For Beland, it felt wrong, spending so much money. “I don’t buy things like that. I’d been poor for four years,” he says. “I felt guilty when I bought it.”\u003c/p>\n\u003cfigure id=\"attachment_13867454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg\" alt=\"Stacks of comics and drawings abound in Tom Beland's $800/month room in a shared Santa Rosa house.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacks of comics and drawings abound in Tom Beland’s $800/month room in a shared Santa Rosa house. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon, he was drawing on it nonstop (“I was like Wayne Gretzky the first time he put skates on,” he jokes), and the digital nature of the iPad has allowed him to sell portraits at circus and burlesque shows quickly and cheaply, for $15–$40 each. \u003c/p>\n\u003cp>Some of Beland’s work doesn’t pay at all. Recently he contributed a two-page story sharply critical of Trump to \u003cem>\u003ca href=\"https://www.lionforge.com/puerto-rico-strong/\" rel=\"noopener noreferrer\" target=\"_blank\">Puerto Rico Strong\u003c/a>\u003c/em>, which won an Eisner Award for Best Anthology. The proceeds went to hurricane relief on the island, where Beland lived and called home for 20 years.\u003c/p>\n\u003cp>But Beland’s most-viewed drawing was one he did in about 15 minutes. In 2018, he’d just seen \u003cem>Black Panther\u003c/em> at the movie theater, where he saw some African American children in the lobby pointing at the movie poster, saying “That’s me.” He sketched the scene, posted it on Facebook, and it quickly went viral. After Michael B. Jordan, one of the film’s stars, reposted it, Marvel got in touch asking to use it as a special variant cover for the \u003cem>Black Panther\u003c/em> comic book.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/Bfo4cOWHEw7/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marvel paid him $650 for the sketch. But again, it was about more than the money. Beland was flown around the country for signings, and “I got hugged by a lot of people,” he says. “There were some real emotional moments.”\u003c/p>\n\u003cp>For the time being, Beland wants to stay in the Bay Area, despite the high cost of living. His brother lives here, “and he’s everything to me,” he says.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "Side Gigs and Successes ",
"link1": "https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.",
"target": "_blank"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And having been in the business for over 30 years, he has some advice for up-and-coming cartoonists.\u003c/p>\n\u003cp>“You better be ready to grind,” he says. “If you’re going to be a pro baseball player, you’re not going from high school to the Yankees. You’re on a bus. If you’re doing comedy, you’re in a car, you’re going to go to some hotel that’s horrendous, and you maybe get 25 bucks.”\u003c/p>\n\u003cp>“But,” Beland continues, “it gets you to that gig that’s really interesting. And it gives you the jones to go back and do that next thing. That’s what I’m always looking for. The next thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13867392/a-cartoonist-balancing-freelance-work-and-a-day-job-on-a-shoestring-budget",
"authors": [
"185"
],
"series": [
"arts_4525"
],
"categories": [
"arts_74",
"arts_70"
],
"tags": [
"arts_1942",
"arts_1118",
"arts_7321",
"arts_3570",
"arts_2721",
"arts_4213"
],
"featImg": "arts_13867417",
"label": "arts_4525"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"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?tag=marvel": {
"isFetching": false,
"latestQuery": {
"from": 12,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 27,
"relation": "eq"
},
"items": [
"arts_13902724",
"arts_13902658",
"arts_13902470",
"arts_13902238",
"arts_13901046",
"arts_13897144",
"arts_13896604",
"arts_13896299",
"arts_13894194",
"arts_13891309",
"arts_13872364",
"arts_13867392"
],
"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_tag_marvel": {
"isLoading": true
},
"arts_3570": {
"type": "terms",
"id": "arts_3570",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3570",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Marvel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marvel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3582,
"slug": "marvel",
"isLoading": false,
"link": "/arts/tag/marvel"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_4672": {
"type": "terms",
"id": "arts_4672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4672",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asian American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asian American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4684,
"slug": "asian-american",
"isLoading": false,
"link": "/arts/tag/asian-american"
},
"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_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_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_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_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_2654": {
"type": "terms",
"id": "arts_2654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinatown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinatown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2666,
"slug": "chinatown",
"isLoading": false,
"link": "/arts/tag/chinatown"
},
"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_7718": {
"type": "terms",
"id": "arts_7718",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7718",
"found": true
},
"relationships": {},
"featImg": null,
"name": "muni",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "muni Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7730,
"slug": "muni",
"isLoading": false,
"link": "/arts/tag/muni"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_19533": {
"type": "terms",
"id": "arts_19533",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19533",
"found": true
},
"relationships": {},
"featImg": null,
"name": "transit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "transit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19545,
"slug": "transit",
"isLoading": false,
"link": "/arts/tag/transit"
},
"arts_4161": {
"type": "terms",
"id": "arts_4161",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4161",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jordan Peele",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jordan Peele Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4173,
"slug": "jordan-peele",
"isLoading": false,
"link": "/arts/tag/jordan-peele"
},
"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_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_8086": {
"type": "terms",
"id": "arts_8086",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8086",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cartoons",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cartoons Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8098,
"slug": "cartoons",
"isLoading": false,
"link": "/arts/tag/cartoons"
},
"arts_11327": {
"type": "terms",
"id": "arts_11327",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11327",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chadwick Boseman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chadwick Boseman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11339,
"slug": "chadwick-boseman",
"isLoading": false,
"link": "/arts/tag/chadwick-boseman"
},
"arts_7584": {
"type": "terms",
"id": "arts_7584",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7584",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comic books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comic books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7596,
"slug": "comic-books",
"isLoading": false,
"link": "/arts/tag/comic-books"
},
"arts_6494": {
"type": "terms",
"id": "arts_6494",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6494",
"found": true
},
"relationships": {},
"featImg": null,
"name": "matthew mcconaughey",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "matthew mcconaughey Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6506,
"slug": "matthew-mcconaughey",
"isLoading": false,
"link": "/arts/tag/matthew-mcconaughey"
},
"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_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_9555": {
"type": "terms",
"id": "arts_9555",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9555",
"found": true
},
"relationships": {},
"featImg": null,
"name": "superheroes",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "superheroes Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9567,
"slug": "superheroes",
"isLoading": false,
"link": "/arts/tag/superheroes"
},
"arts_1942": {
"type": "terms",
"id": "arts_1942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1954,
"slug": "comics",
"isLoading": false,
"link": "/arts/tag/comics"
},
"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_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_702": {
"type": "terms",
"id": "arts_702",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "702",
"found": true
},
"relationships": {},
"featImg": null,
"name": "transgender",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "transgender Archives | KQED Arts",
"ogDescription": null
},
"ttid": 713,
"slug": "transgender",
"isLoading": false,
"link": "/arts/tag/transgender"
},
"arts_4525": {
"type": "terms",
"id": "arts_4525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Hustle",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4537,
"slug": "hustle",
"isLoading": false,
"link": "/arts/series/hustle"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_7321": {
"type": "terms",
"id": "arts_7321",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7321",
"found": true
},
"relationships": {},
"featImg": null,
"name": "housing crisis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "housing crisis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7333,
"slug": "housing-crisis",
"isLoading": false,
"link": "/arts/tag/housing-crisis"
},
"arts_2721": {
"type": "terms",
"id": "arts_2721",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2721",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Santa Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Santa Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2733,
"slug": "santa-rosa",
"isLoading": false,
"link": "/arts/tag/santa-rosa"
},
"arts_4213": {
"type": "terms",
"id": "arts_4213",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4213",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the hustle",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4225,
"slug": "the-hustle",
"isLoading": false,
"link": "/arts/tag/the-hustle"
}
},
"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
}
}
