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_13964080": {
"type": "attachments",
"id": "arts_13964080",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13964080",
"found": true
},
"title": "James McAvoy at his sinister best in ‘Speak No Evil.’",
"publishDate": 1726080274,
"status": "inherit",
"parent": 13964075,
"modified": 1726080343,
"caption": "James McAvoy at his sinister best in ‘Speak No Evil.’",
"credit": "Universal Pictures via AP",
"altTag": "A bloodied, snarling man tries to force his way into a door.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-800x508.png",
"width": 800,
"height": 508,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-1020x648.png",
"width": 1020,
"height": 648,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-160x102.png",
"width": 160,
"height": 102,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-768x488.png",
"width": 768,
"height": 488,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-1536x976.png",
"width": 1536,
"height": 976,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james-1920x1220.png",
"width": 1920,
"height": 1220,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/james.png",
"width": 2000,
"height": 1271
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963990": {
"type": "attachments",
"id": "arts_13963990",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963990",
"found": true
},
"title": "CJM-NickiGreen-211-Web_COVER",
"publishDate": 1725994941,
"status": "inherit",
"parent": 13963960,
"modified": 1725994990,
"caption": "Detail of Nicki Green's sculpture 'Fruitful Vine 2 (Michael),' 2024 in 'Firmament' at the Contemporary Jewish Museum.",
"credit": "Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum",
"altTag": "Head and shoulders of ceramic sculpture of a figure with rough-hewn features",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-211-Web_COVER.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963968": {
"type": "attachments",
"id": "arts_13963968",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963968",
"found": true
},
"title": "Clockwise from left: ‘How to Die Alone,’ ‘Matlock,’ ‘Leonardo da Vinci,’ ‘Grotesquerie,’ ‘Interior Chinatown,’ ‘Somebody Somewhere.’",
"publishDate": 1725989069,
"status": "inherit",
"parent": 13963967,
"modified": 1725990919,
"caption": "Clockwise from left: ‘How to Die Alone,’ ‘Matlock,’ ‘Leonardo da Vinci,’ ‘Grotesquerie,’ ‘Interior Chinatown,’ ‘Somebody Somewhere.’",
"credit": "Ian Watson/Hulu, Brooke Palmer/CBS, PBS, Prashant Gupta/FX, Sandy Morris/HBO",
"altTag": "Six separate images of men and women.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1020x574.jpeg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1536x864.jpeg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-2048x1152.jpeg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-1920x1080.jpeg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/6-images-10-e1725990787545.jpeg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963873": {
"type": "attachments",
"id": "arts_13963873",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963873",
"found": true
},
"title": "‘We’re Alone’ by Edwidge Danticat.",
"publishDate": 1725901336,
"status": "inherit",
"parent": 13963867,
"modified": 1725901381,
"caption": "‘We’re Alone’ by Edwidge Danticat. ",
"credit": "Graywolf Press",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-800x528.png",
"width": 800,
"height": 528,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-1020x674.png",
"width": 1020,
"height": 674,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-160x106.png",
"width": 160,
"height": 106,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-768x507.png",
"width": 768,
"height": 507,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-1536x1015.png",
"width": 1536,
"height": 1015,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone-1920x1268.png",
"width": 1920,
"height": 1268,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/alone.png",
"width": 2000,
"height": 1321
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963825": {
"type": "attachments",
"id": "arts_13963825",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963825",
"found": true
},
"title": "Michael Keaton, reviving ‘Beetlejuice.’",
"publishDate": 1725645256,
"status": "inherit",
"parent": 13963817,
"modified": 1725645369,
"caption": "Michael Keaton, reviving ‘Beetlejuice.’",
"credit": "Warner Bros Pictures via AP",
"altTag": "A ghoulish looking man with unkempt hair and striped suit.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-800x526.png",
"width": 800,
"height": 526,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1020x671.png",
"width": 1020,
"height": 671,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-160x105.png",
"width": 160,
"height": 105,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-768x505.png",
"width": 768,
"height": 505,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1536x1011.png",
"width": 1536,
"height": 1011,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton-1920x1263.png",
"width": 1920,
"height": 1263,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keaton.png",
"width": 2000,
"height": 1316
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963819": {
"type": "attachments",
"id": "arts_13963819",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963819",
"found": true
},
"title": "KikisDeliveryService",
"publishDate": 1725644912,
"status": "inherit",
"parent": 13963803,
"modified": 1725644977,
"caption": "Composer Joe Hisaishi conducted 'Music from the Studio Ghibli Films of Hayao Miyazaki' at Davies Symphony Hall on Thursday night, including music from 'Kiki's Delivery Service,' above.",
"credit": "Studio Ghibli",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg",
"width": 800,
"height": 481,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg",
"width": 1020,
"height": 614,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg",
"width": 160,
"height": 96,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg",
"width": 768,
"height": 462,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg",
"width": 1536,
"height": 924,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg",
"width": 2048,
"height": 1232,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg",
"width": 1920,
"height": 1155,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg",
"width": 2485,
"height": 1495
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963776": {
"type": "attachments",
"id": "arts_13963776",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963776",
"found": true
},
"title": "In Season 4 of ‘Only Murders in the Building,’ Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) are whisked away to Los Angeles, where a film studio intends to adapt their podcast.",
"publishDate": 1725575619,
"status": "inherit",
"parent": 13963775,
"modified": 1725576687,
"caption": "In Season 4 of ‘Only Murders in the Building,’ Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) are whisked away to Los Angeles, where a film studio intends to adapt their podcast.",
"credit": " Eric McCandless/Disney",
"altTag": "A 30-somthing glamorous woman stands betwen two older smartly dressed men.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-800x450.jpeg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1020x573.jpeg",
"width": 1020,
"height": 573,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-768x432.jpeg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1536x863.jpeg",
"width": 1536,
"height": 863,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-2048x1151.jpeg",
"width": 2048,
"height": 1151,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-1920x1079.jpeg",
"width": 1920,
"height": 1079,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/171914-1675r2-scaled-e1725576696587.jpeg",
"width": 1920,
"height": 1079
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963739": {
"type": "attachments",
"id": "arts_13963739",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963739",
"found": true
},
"title": "SMB-still1_2000",
"publishDate": 1725566835,
"status": "inherit",
"parent": 13963688,
"modified": 1725567424,
"caption": "Director Jazmin Jones in a scene from 'Seeking Mavis Beacon.'",
"credit": "Courtesy of NEON",
"altTag": "Black woman leans over light table with loupe to look at slides",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-800x422.jpg",
"width": 800,
"height": 422,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-1020x538.jpg",
"width": 1020,
"height": 538,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-160x84.jpg",
"width": 160,
"height": 84,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-768x405.jpg",
"width": 768,
"height": 405,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-1536x810.jpg",
"width": 1536,
"height": 810,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000-1920x1013.jpg",
"width": 1920,
"height": 1013,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMB-still1_2000.jpg",
"width": 2000,
"height": 1055
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963704": {
"type": "attachments",
"id": "arts_13963704",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963704",
"found": true
},
"title": "‘I Just Keep Talking’ by Nell Irvin Painter.",
"publishDate": 1725560694,
"status": "inherit",
"parent": 13963695,
"modified": 1725560734,
"caption": "‘I Just Keep Talking’ by Nell Irvin Painter.",
"credit": "Doubleday ",
"altTag": "A book cover featuring an abstract illustration of a face.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM-800x530.png",
"width": 800,
"height": 530,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM-1020x676.png",
"width": 1020,
"height": 676,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM-160x106.png",
"width": 160,
"height": 106,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM-768x509.png",
"width": 768,
"height": 509,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-11.24.37 AM.png",
"width": 1312,
"height": 870
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963670": {
"type": "attachments",
"id": "arts_13963670",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963670",
"found": true
},
"title": "Hieronymus Bosch as drawn by Guy Colwell in his new graphic novel, ‘Delights.’",
"publishDate": 1725480435,
"status": "inherit",
"parent": 13963277,
"modified": 1725480613,
"caption": "Hieronymus Bosch as drawn by Guy Colwell in his new graphic novel, ‘Delights.’",
"credit": "Courtesy of Guy Colwell",
"altTag": "An illustration of a concerned looking man painting a landscape featuring naked people.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-800x505.jpg",
"width": 800,
"height": 505,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-1020x644.jpg",
"width": 1020,
"height": 644,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-160x101.jpg",
"width": 160,
"height": 101,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-768x485.jpg",
"width": 768,
"height": 485,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-1536x970.jpg",
"width": 1536,
"height": 970,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch-1920x1212.jpg",
"width": 1920,
"height": 1212,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/bosch.jpg",
"width": 2000,
"height": 1263
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963655": {
"type": "attachments",
"id": "arts_13963655",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963655",
"found": true
},
"title": "Don Johnson as Chief Sandy Burnne and Aaron Pierre as Terry Richmond in ‘Rebel Ridge.’",
"publishDate": 1725474252,
"status": "inherit",
"parent": 13963648,
"modified": 1725474336,
"caption": "Don Johnson as Chief Sandy Burnne and Aaron Pierre as Terry Richmond in ‘Rebel Ridge.’ ",
"credit": "Allyson Riggs/Netflix via AP",
"altTag": "A older white man with one hand on his gun holster faces off with a younger Black man whose hands are folded in front of him. They are standing in a rural area.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-800x489.png",
"width": 800,
"height": 489,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1020x624.png",
"width": 1020,
"height": 624,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-160x98.png",
"width": 160,
"height": 98,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-768x470.png",
"width": 768,
"height": 470,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1536x939.png",
"width": 1536,
"height": 939,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge-1920x1174.png",
"width": 1920,
"height": 1174,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/rridge.png",
"width": 2000,
"height": 1223
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13963641": {
"type": "attachments",
"id": "arts_13963641",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13963641",
"found": true
},
"title": "Cain_Quiet_Riot_installation_image_(2024)_(view 8)",
"publishDate": 1725468568,
"status": "inherit",
"parent": 13963630,
"modified": 1725468735,
"caption": "Installation view of Sarah Cain's 'Quiet Riot' at Anthony Meier.",
"credit": "Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder",
"altTag": "view of gallery with colorful abstract paintings and painted floor",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8-800x600.jpg",
"width": 800,
"height": 600,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8-1020x765.jpg",
"width": 1020,
"height": 765,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8-160x120.jpg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8-768x576.jpg",
"width": 768,
"height": 576,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-8.jpg",
"width": 1527,
"height": 1145
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13964075": {
"type": "authors",
"id": "byline_arts_13964075",
"meta": {
"override": true
},
"slug": "byline_arts_13964075",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13963967": {
"type": "authors",
"id": "byline_arts_13963967",
"meta": {
"override": true
},
"slug": "byline_arts_13963967",
"name": "Eric Deggans, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"isLoading": false
},
"byline_arts_13963867": {
"type": "authors",
"id": "byline_arts_13963867",
"meta": {
"override": true
},
"slug": "byline_arts_13963867",
"name": "Gabino Iglesias, NPR",
"isLoading": false
},
"byline_arts_13963817": {
"type": "authors",
"id": "byline_arts_13963817",
"meta": {
"override": true
},
"slug": "byline_arts_13963817",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"byline_arts_13963775": {
"type": "authors",
"id": "byline_arts_13963775",
"meta": {
"override": true
},
"slug": "byline_arts_13963775",
"name": "David Bianculli, NPR",
"isLoading": false
},
"byline_arts_13963695": {
"type": "authors",
"id": "byline_arts_13963695",
"meta": {
"override": true
},
"slug": "byline_arts_13963695",
"name": "Martha Anne Toll",
"isLoading": false
},
"byline_arts_13963648": {
"type": "authors",
"id": "byline_arts_13963648",
"meta": {
"override": true
},
"slug": "byline_arts_13963648",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"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": "forum",
"roles": [
"administrator"
]
},
{
"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"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307792
},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"title": "review",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 26
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 26
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://hls.kqed.org/hls/kqed_app/playlist.m3u8",
"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_13964075": {
"type": "posts",
"id": "arts_13964075",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13964075",
"score": null,
"sort": [
1726080605000
]
},
"guestAuthors": [],
"slug": "sinister-and-unhinged-james-mcavoy-is-the-host-from-hell-in-speak-no-evil",
"title": "Sinister and Unhinged, James McAvoy Is the Host From Hell in ‘Speak No Evil’",
"publishDate": 1726080605,
"format": "standard",
"headTitle": "Sinister and Unhinged, James McAvoy Is the Host From Hell in ‘Speak No Evil’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Quick. Has there ever been a horror film set in a country home with a decent cell signal?\u003c/p>\n\u003cp>Nope, and there’s no signal at Paddy and Ciara’s house, either, deep in the English countryside. Soon, that land line will be cut, too, but we’re getting ahead of ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Paddy and Ciara are that fun-but-somewhat-odd British couple whom Louise and Ben, early in \u003cem>Speak No Evil\u003c/em>, meet on their idyllic Tuscan family holiday. Americans based in London, Louise and Ben are at loose ends, with both job and relationship issues. And so, when the new acquaintances write to invite them for a country weekend, they decide to go.\u003c/p>\n\u003cp>After all, how bad could it be?\u003c/p>\n\u003cp>Don’t answer that. There are many such moments in the first two-thirds of \u003cem>Speak No Evil\u003c/em>, a Hollywood remake of the 2022 Danish film, here starring a deeply menacing James McAvoy. Moments where Louise and Ben, out of mere politeness and social convention, act against their instincts, which tell them something is wrong — very wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director James Watkins and especially his excellent troupe of actors, adult and children alike, do a nice job of building the tension, slowly but surely. Until all bloody hell breaks loose, of course. And then, in its third act, \u003cem>Speak No Evil\u003c/em> becomes an entertaining but routine horror flick, with predictable results.\u003c/p>\n\u003cp>But for a while, it’s a way more intelligent film. And the jumpy moments work — I’ll confess to literally springing out of my seat when someone uneventfully turned on a power drill.\u003c/p>\n\u003cp>We begin in stunning Tuscany, where Louise (Mackenzie Davis, in the film’s most accessible and empathetic performance) and Ben (Scoot McNairy, all nerves and insecurity) are vacationing with 11-year-old daughter Agnes (Alix West Lefler). At the pool, they meet Paddy (McAvoy) and Ciara (Aisling Franciosi), a British couple with a disabled son, Ant, apparently born without a proper tongue.\u003c/p>\n\u003cp>One day in town, Paddy offers Agnes a ride on his Vespa. Louise is frightened to see her daughter disappear on the motorbike with a strange man, but it would be churlish to say no, right?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FjzxI6uf8H8&t=47s\u003c/p>\n\u003cp>In briefly sketched backstories, we learn that Louise and Ben moved to London for Ben’s job, but he was soon downsized out. As for Paddy, all we know is he’s a doctor.\u003c/p>\n\u003cp>[aside postid='arts_13936524']At least, we think he is. The Americans, accepting the weekend invitation back in England, arrive at the secluded country home in dead of night. Immediately something feels off. The rooms are quirky but musty, the sheets stained. How can a doctor live like this, Louise asks? Ben brushes off her concern, quipping that even Downton Abbey is in terrible shape.\u003c/p>\n\u003cp>When the couple cooks dinner, Paddy proudly explains they’ve butchered their prize goose in their guests’ honor. He proffers Louise a forkful — even though he well knows she’s a vegetarian. Louise is disgusted but, politely, takes a bite.\u003c/p>\n\u003cp>Daughter Agnes, too, is freaked out. She’s being made to sleep on the floor next to Ant (Dan Hough, poignant in a role with no words.) And the next evening, when everyone dresses for a special dinner out, Paddy and Ciara inform Louise and Ben that the kids will stay home with a strange male babysitter. “We’ve had mannies before,” Ben tells Louise, unconvincingly.\u003c/p>\n\u003cp>Soon, though, we have the obligatory attempt to flee, followed by the “Oh no, we have to go back” moment — you know, where you’re yelling: “No!” But return the family does.\u003c/p>\n\u003cp>In perhaps the movie’s most effective scene, the two kids have put together a dance routine. The parents sit back proudly to watch, but repeatedly, Paddy stops the routine to admonish, brutally, his son, telling him he’s out of rhythm. McAvoy, a terrific actor who has made villainy part of his potent toolbox, is truly chilling as he becomes unhinged by his son’s inability to keep time.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Then there’s the scene fans of \u003cem>The Shining\u003c/em> will recognize as the “Here’s Johnny,” Jack Nicholson moment. By then, everything’s gone off the rails, and it’s time for the blood to flow, predictably.\u003c/p>\n\u003cp>If there’s a moral here, it’s to trust those instincts when things feel wrong. But if movie characters did that, the horror genre would not exist.\u003c/p>\n\u003cp>Still, there’s some satisfaction to be had, especially in the creative use of household implements to inflict pain and death. Revenge, they say, is a dish best served cold — except in horror films, where it is served raw and bloody, with a side of toxic cleaning fluid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Speak No Evil’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "This thrilling remake of a Danish horror film is a stern reminder that politeness isn't always a good thing.",
"status": "publish",
"parent": 0,
"modified": 1726080605,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 848
},
"headData": {
"title": "‘Speak No Evil’ Review: James McAvoy at His Sinister Best | KQED",
"description": "This thrilling remake of a Danish horror film is a stern reminder that politeness isn't always a good thing.",
"ogTitle": "Sinister and Unhinged, James McAvoy Is the Host From Hell in ‘Speak No Evil’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Sinister and Unhinged, James McAvoy Is the Host From Hell in ‘Speak No Evil’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Speak No Evil’ Review: James McAvoy at His Sinister Best %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sinister and Unhinged, James McAvoy Is the Host From Hell in ‘Speak No Evil’",
"datePublished": "2024-09-11T11:50:05-07:00",
"dateModified": "2024-09-11T11:50:05-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jocelyn Noveck, Associated Press",
"nprStoryId": "kqed-13964075",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13964075/sinister-and-unhinged-james-mcavoy-is-the-host-from-hell-in-speak-no-evil",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quick. Has there ever been a horror film set in a country home with a decent cell signal?\u003c/p>\n\u003cp>Nope, and there’s no signal at Paddy and Ciara’s house, either, deep in the English countryside. Soon, that land line will be cut, too, but we’re getting ahead of ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13904911",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Paddy and Ciara are that fun-but-somewhat-odd British couple whom Louise and Ben, early in \u003cem>Speak No Evil\u003c/em>, meet on their idyllic Tuscan family holiday. Americans based in London, Louise and Ben are at loose ends, with both job and relationship issues. And so, when the new acquaintances write to invite them for a country weekend, they decide to go.\u003c/p>\n\u003cp>After all, how bad could it be?\u003c/p>\n\u003cp>Don’t answer that. There are many such moments in the first two-thirds of \u003cem>Speak No Evil\u003c/em>, a Hollywood remake of the 2022 Danish film, here starring a deeply menacing James McAvoy. Moments where Louise and Ben, out of mere politeness and social convention, act against their instincts, which tell them something is wrong — very wrong.\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>Director James Watkins and especially his excellent troupe of actors, adult and children alike, do a nice job of building the tension, slowly but surely. Until all bloody hell breaks loose, of course. And then, in its third act, \u003cem>Speak No Evil\u003c/em> becomes an entertaining but routine horror flick, with predictable results.\u003c/p>\n\u003cp>But for a while, it’s a way more intelligent film. And the jumpy moments work — I’ll confess to literally springing out of my seat when someone uneventfully turned on a power drill.\u003c/p>\n\u003cp>We begin in stunning Tuscany, where Louise (Mackenzie Davis, in the film’s most accessible and empathetic performance) and Ben (Scoot McNairy, all nerves and insecurity) are vacationing with 11-year-old daughter Agnes (Alix West Lefler). At the pool, they meet Paddy (McAvoy) and Ciara (Aisling Franciosi), a British couple with a disabled son, Ant, apparently born without a proper tongue.\u003c/p>\n\u003cp>One day in town, Paddy offers Agnes a ride on his Vespa. Louise is frightened to see her daughter disappear on the motorbike with a strange man, but it would be churlish to say no, right?\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/FjzxI6uf8H8'\n title='//www.youtube.com/embed/FjzxI6uf8H8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In briefly sketched backstories, we learn that Louise and Ben moved to London for Ben’s job, but he was soon downsized out. As for Paddy, all we know is he’s a doctor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936524",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At least, we think he is. The Americans, accepting the weekend invitation back in England, arrive at the secluded country home in dead of night. Immediately something feels off. The rooms are quirky but musty, the sheets stained. How can a doctor live like this, Louise asks? Ben brushes off her concern, quipping that even Downton Abbey is in terrible shape.\u003c/p>\n\u003cp>When the couple cooks dinner, Paddy proudly explains they’ve butchered their prize goose in their guests’ honor. He proffers Louise a forkful — even though he well knows she’s a vegetarian. Louise is disgusted but, politely, takes a bite.\u003c/p>\n\u003cp>Daughter Agnes, too, is freaked out. She’s being made to sleep on the floor next to Ant (Dan Hough, poignant in a role with no words.) And the next evening, when everyone dresses for a special dinner out, Paddy and Ciara inform Louise and Ben that the kids will stay home with a strange male babysitter. “We’ve had mannies before,” Ben tells Louise, unconvincingly.\u003c/p>\n\u003cp>Soon, though, we have the obligatory attempt to flee, followed by the “Oh no, we have to go back” moment — you know, where you’re yelling: “No!” But return the family does.\u003c/p>\n\u003cp>In perhaps the movie’s most effective scene, the two kids have put together a dance routine. The parents sit back proudly to watch, but repeatedly, Paddy stops the routine to admonish, brutally, his son, telling him he’s out of rhythm. McAvoy, a terrific actor who has made villainy part of his potent toolbox, is truly chilling as he becomes unhinged by his son’s inability to keep time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962666",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the scene fans of \u003cem>The Shining\u003c/em> will recognize as the “Here’s Johnny,” Jack Nicholson moment. By then, everything’s gone off the rails, and it’s time for the blood to flow, predictably.\u003c/p>\n\u003cp>If there’s a moral here, it’s to trust those instincts when things feel wrong. But if movie characters did that, the horror genre would not exist.\u003c/p>\n\u003cp>Still, there’s some satisfaction to be had, especially in the creative use of household implements to inflict pain and death. Revenge, they say, is a dish best served cold — except in horror films, where it is served raw and bloody, with a side of toxic cleaning fluid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Speak No Evil’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13964075/sinister-and-unhinged-james-mcavoy-is-the-host-from-hell-in-speak-no-evil",
"authors": [
"byline_arts_13964075"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5087",
"arts_769",
"arts_585"
],
"featImg": "arts_13964080",
"label": "arts_140"
},
"arts_13963960": {
"type": "posts",
"id": "arts_13963960",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963960",
"score": null,
"sort": [
1726002923000
]
},
"guestAuthors": [],
"slug": "nicki-green-firmament-contemporary-jewish-museum-review",
"title": "With ‘Firmament,’ Nicki Green Constructs Porous Spaces for Transformation",
"publishDate": 1726002923,
"format": "standard",
"headTitle": "With ‘Firmament,’ Nicki Green Constructs Porous Spaces for Transformation | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003ci>\u003cb>Update:\u003c/b> On Nov. 13, the Contemporary Jewish Museum announced it will be \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">closing for at least one year\u003c/a>, starting Dec. 15, 2024. Admission will be free until then.\u003c/i>\u003c/p>\n\u003cp>A poem by Eli Andrew Ramer wraps around the walls of the Contemporary Jewish Museum in rusty red text. “Let there be a space within the water and let it separate water and water,” it reads, referencing the creation of the firmament in the Book of Genesis, the division of heaven and earth. That firmament is a boundary line, but it is also a place — an in-between, in-process place that provides an expansive conceptual and visual framework for artist Nicki Green’s first solo museum show.\u003c/p>\n\u003cp>[aside postID='arts_13963016']Green’s \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/236\">Firmament\u003c/a>\u003c/i> is an exhibition of ceramics, collaboration and contemplation. In the museum’s downstairs gallery, natural light spills in from Yerba Buena Lane to fill a high-ceilinged space marked by its own porous “divisions.” Ramer’s text creates one semi-horizontal line; a large-scale wooden structure forms a welcoming inner sanctum.\u003c/p>\n\u003cp>The sturdy framework, Green’s interpretation of the biblical mishkan, the \u003ca href=\"https://en.wikipedia.org/wiki/Tabernacle\">portable tabernacle\u003c/a> used by the Jewish people while in exile, is draped in a textile work by \u003ca href=\"https://www.ricki.website/\">Ricki Dwyer\u003c/a>, one of Green’s regular collaborators. Their shared sensibilities and dedication to craft are evident: the monumental purple-hued weaving, reminiscent of wisteria vine spread across a garden trellis, echoes the interlaced patterns on many of Green’s sculptures.\u003c/p>\n\u003cfigure id=\"attachment_13963988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000.jpg\" alt=\"Wooden structure inside gallery space, draped with purple textile and surrounded by ceramic sculptures\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Nicki Green: Firmament’ at the Contemporary Jewish Museum. \u003ccite>(Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_11888270']Green was a longtime Bay Area resident (who now teaches at Alfred University in New York), and those familiar with her previous work will recognize in \u003ci>Firmament\u003c/i> many of the artist’s nods to Jewish ritual objects. At the center of the tent sits the mikvah-like \u003ci>The Porous Sea (Tub)\u003c/i>, adorned with delicate mushrooms that wax and wane in their own lunar cycle. A series of “crocks for unrecognizables” reference the different prayers said over food at different stages of fermentation. Here, Green finds a rich metaphor for queerness and transness: with the addition of salt and water, ingredients become bubbly, active, \u003ci>more alive\u003c/i> than they were before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Light wood benches, repurposed shipping crates and unglazed earthenware lend the entire exhibition a warm, accessible tranquility. It’s an ambiance that eases visitors into Green’s many lines of research, which include mycelial networks, utilitarian studio rituals, Talmudic study and alchemical symbols.\u003c/p>\n\u003cfigure id=\"attachment_13963989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000.jpg\" alt=\"Delicate purple illustrations inside a glazed ceramic tub, fabric draped over side\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Nicki Green’s sculpture ‘The Porous Sea (Tub),’ 2019. \u003ccite>(Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s plenty of wall text to more fully explicate some of these themes, including additional writing by Ramer (a queer elder and local maggid, or sacred storyteller) on a number of the object descriptions. But there’s also such a density of ornamentation on some of Green’s surfaces that the images become a language themselves.\u003c/p>\n\u003cp>The benefit of seeing so much of Green’s work, spanning five years, is to begin to recognize some of these symbols, and to spend time with her process of amalgamating source material into physical objects. (On the crocks, for instance, Green has left notes in pencil that appear by looking into mirrors mounted behind some of the vessels.)\u003c/p>\n\u003cp>\u003ci>Firmament\u003c/i> also displays new methods. \u003ci>Unformed and Void\u003c/i>, a long strip of crocheted white string, wraps twice around the wall facing Yerba Buena Lane, a kind of static ticker tape that renders the first five verses of the Book of Genesis in Hebrew script.\u003c/p>\n\u003cfigure id=\"attachment_13963991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000.jpg\" alt=\"White crochet wrapped around wall edge, ceramic in background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Nicki Green’s ‘Unformed and Void,’ 2024. \u003ccite>(Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is anchored (and populated) by four figurative sculptures, another new development in Green’s practice. These relatively life-sized figures, the angels Michael, Raphael, Gavriel and Uriel, assume disarmingly glamorous poses in and around the tent. Michael, especially, sits with an artfully arched left foot on a tile-patterned pedestal. With a mikvah reference at their center, the figures start to look like they’re relaxing in a private watery realm.\u003c/p>\n\u003cp>Green isn’t interested in sleek perfection or figurative realism. Traces of her fingers and hands are visible all over the angels, shaping their features, their lumpy limbs and dark, piled-up hair. These are beings of her own making, inhabiting a world of her own making — as Ramer’s poem says, “an expanse in the midst of the waters” — that welcomes all the possibilities (and pleasures) of transformation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.thecjm.org/exhibitions/236\">Nicki Green: Firmament\u003c/a>’ is on view at the Contemporary Jewish Museum through Dec. 15, 2024.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "At the Contemporary Jewish Museum, the artist has made a conceptually rich exhibition of large-scale ceramics.",
"status": "publish",
"parent": 0,
"modified": 1732128628,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 818
},
"headData": {
"title": "‘Firmament’: Nicki Green Makes Space for Transformation | KQED",
"description": "At the Contemporary Jewish Museum, the artist has made a conceptually rich exhibition of large-scale ceramics.",
"ogTitle": "With ‘Firmament,’ Nicki Green Constructs Porous Spaces for Transformation",
"ogDescription": "",
"ogImgId": "",
"twTitle": "With ‘Firmament,’ Nicki Green Constructs Porous Spaces for Transformation",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Firmament’: Nicki Green Makes Space for Transformation %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "With ‘Firmament,’ Nicki Green Constructs Porous Spaces for Transformation",
"datePublished": "2024-09-10T14:15:23-07:00",
"dateModified": "2024-11-20T10:50:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963960",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Update:\u003c/b> On Nov. 13, the Contemporary Jewish Museum announced it will be \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">closing for at least one year\u003c/a>, starting Dec. 15, 2024. Admission will be free until then.\u003c/i>\u003c/p>\n\u003cp>A poem by Eli Andrew Ramer wraps around the walls of the Contemporary Jewish Museum in rusty red text. “Let there be a space within the water and let it separate water and water,” it reads, referencing the creation of the firmament in the Book of Genesis, the division of heaven and earth. That firmament is a boundary line, but it is also a place — an in-between, in-process place that provides an expansive conceptual and visual framework for artist Nicki Green’s first solo museum show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963016",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Green’s \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/236\">Firmament\u003c/a>\u003c/i> is an exhibition of ceramics, collaboration and contemplation. In the museum’s downstairs gallery, natural light spills in from Yerba Buena Lane to fill a high-ceilinged space marked by its own porous “divisions.” Ramer’s text creates one semi-horizontal line; a large-scale wooden structure forms a welcoming inner sanctum.\u003c/p>\n\u003cp>The sturdy framework, Green’s interpretation of the biblical mishkan, the \u003ca href=\"https://en.wikipedia.org/wiki/Tabernacle\">portable tabernacle\u003c/a> used by the Jewish people while in exile, is draped in a textile work by \u003ca href=\"https://www.ricki.website/\">Ricki Dwyer\u003c/a>, one of Green’s regular collaborators. Their shared sensibilities and dedication to craft are evident: the monumental purple-hued weaving, reminiscent of wisteria vine spread across a garden trellis, echoes the interlaced patterns on many of Green’s sculptures.\u003c/p>\n\u003cfigure id=\"attachment_13963988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000.jpg\" alt=\"Wooden structure inside gallery space, draped with purple textile and surrounded by ceramic sculptures\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-017-Web_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Nicki Green: Firmament’ at the Contemporary Jewish Museum. \u003ccite>(Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11888270",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Green was a longtime Bay Area resident (who now teaches at Alfred University in New York), and those familiar with her previous work will recognize in \u003ci>Firmament\u003c/i> many of the artist’s nods to Jewish ritual objects. At the center of the tent sits the mikvah-like \u003ci>The Porous Sea (Tub)\u003c/i>, adorned with delicate mushrooms that wax and wane in their own lunar cycle. A series of “crocks for unrecognizables” reference the different prayers said over food at different stages of fermentation. Here, Green finds a rich metaphor for queerness and transness: with the addition of salt and water, ingredients become bubbly, active, \u003ci>more alive\u003c/i> than they were before.\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>Light wood benches, repurposed shipping crates and unglazed earthenware lend the entire exhibition a warm, accessible tranquility. It’s an ambiance that eases visitors into Green’s many lines of research, which include mycelial networks, utilitarian studio rituals, Talmudic study and alchemical symbols.\u003c/p>\n\u003cfigure id=\"attachment_13963989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000.jpg\" alt=\"Delicate purple illustrations inside a glazed ceramic tub, fabric draped over side\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-208-Web_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Nicki Green’s sculpture ‘The Porous Sea (Tub),’ 2019. \u003ccite>(Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s plenty of wall text to more fully explicate some of these themes, including additional writing by Ramer (a queer elder and local maggid, or sacred storyteller) on a number of the object descriptions. But there’s also such a density of ornamentation on some of Green’s surfaces that the images become a language themselves.\u003c/p>\n\u003cp>The benefit of seeing so much of Green’s work, spanning five years, is to begin to recognize some of these symbols, and to spend time with her process of amalgamating source material into physical objects. (On the crocks, for instance, Green has left notes in pencil that appear by looking into mirrors mounted behind some of the vessels.)\u003c/p>\n\u003cp>\u003ci>Firmament\u003c/i> also displays new methods. \u003ci>Unformed and Void\u003c/i>, a long strip of crocheted white string, wraps twice around the wall facing Yerba Buena Lane, a kind of static ticker tape that renders the first five verses of the Book of Genesis in Hebrew script.\u003c/p>\n\u003cfigure id=\"attachment_13963991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000.jpg\" alt=\"White crochet wrapped around wall edge, ceramic in background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CJM-NickiGreen-215-Web_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Nicki Green’s ‘Unformed and Void,’ 2024. \u003ccite>(Photo by Genevieve Shiffrar, courtesy of The Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is anchored (and populated) by four figurative sculptures, another new development in Green’s practice. These relatively life-sized figures, the angels Michael, Raphael, Gavriel and Uriel, assume disarmingly glamorous poses in and around the tent. Michael, especially, sits with an artfully arched left foot on a tile-patterned pedestal. With a mikvah reference at their center, the figures start to look like they’re relaxing in a private watery realm.\u003c/p>\n\u003cp>Green isn’t interested in sleek perfection or figurative realism. Traces of her fingers and hands are visible all over the angels, shaping their features, their lumpy limbs and dark, piled-up hair. These are beings of her own making, inhabiting a world of her own making — as Ramer’s poem says, “an expanse in the midst of the waters” — that welcomes all the possibilities (and pleasures) of transformation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.thecjm.org/exhibitions/236\">Nicki Green: Firmament\u003c/a>’ is on view at the Contemporary Jewish Museum through Dec. 15, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_1787",
"arts_10278",
"arts_769",
"arts_585"
],
"featImg": "arts_13963990",
"label": "arts_140"
},
"arts_13963967": {
"type": "posts",
"id": "arts_13963967",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963967",
"score": null,
"sort": [
1725991263000
]
},
"guestAuthors": [],
"slug": "best-new-tv-shows-streaming-fall-2024-npr-critics-picks",
"title": "The 16 Best TV Shows to Watch in Fall 2024",
"publishDate": 1725991263,
"format": "standard",
"headTitle": "The 16 Best TV Shows to Watch in Fall 2024 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xo27sE2fdvs\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNmLHum-bdE\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pLjpuT-qjw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1CPxZL3kJ70\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-StZwoYw2fg\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=daV1NI7hxY0\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_SKPESJWeI\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5uZBSQ2R_M\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEA2eF_G59U\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J1BihonDew8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MC8cKtqusp4\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJS-mpU1FDA\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "NPR critics have scoured the streaming and broadcast horizons to find the best new fall TV. ",
"status": "publish",
"parent": 0,
"modified": 1725991263,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1665
},
"headData": {
"title": "The Best TV Shows to Stream in Fall 2024 | KQED",
"description": "NPR critics have scoured the streaming and broadcast horizons to find the best new fall TV. ",
"ogTitle": "The 16 Best TV Shows to Watch in Fall 2024",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The 16 Best TV Shows to Watch in Fall 2024",
"twDescription": "",
"twImgId": "",
"socialTitle": "The Best TV Shows to Stream in Fall 2024 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 16 Best TV Shows to Watch in Fall 2024",
"datePublished": "2024-09-10T11:01:03-07:00",
"dateModified": "2024-09-10T11:01:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "best-new-tv-shows-fall-2024-npr-critics-picks",
"nprByline": "Eric Deggans, Aisha Harris, Linda Holmes, Glen Weldon, NPR",
"nprStoryId": "nx-s1-5075302",
"nprHtmlLink": "https://www.npr.org/2024/09/09/nx-s1-5075302/what-to-watch-netflix-hbo-hulu-apple-tv",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-10T07:00:00-04:00",
"nprStoryDate": "2024-09-10T07:00:00-04:00",
"nprLastModifiedDate": "2024-09-10T09:30:51.198-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963967/best-new-tv-shows-streaming-fall-2024-npr-critics-picks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\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/xo27sE2fdvs'\n title='//www.youtube.com/embed/xo27sE2fdvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GNmLHum-bdE'\n title='//www.youtube.com/embed/GNmLHum-bdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-pLjpuT-qjw'\n title='//www.youtube.com/embed/-pLjpuT-qjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1CPxZL3kJ70'\n title='//www.youtube.com/embed/1CPxZL3kJ70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R9pXbNz6Vbw'\n title='//www.youtube.com/embed/R9pXbNz6Vbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-StZwoYw2fg'\n title='//www.youtube.com/embed/-StZwoYw2fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/daV1NI7hxY0'\n title='//www.youtube.com/embed/daV1NI7hxY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_SKPESJWeI'\n title='//www.youtube.com/embed/d_SKPESJWeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/N5uZBSQ2R_M'\n title='//www.youtube.com/embed/N5uZBSQ2R_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fEA2eF_G59U'\n title='//www.youtube.com/embed/fEA2eF_G59U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J1BihonDew8'\n title='//www.youtube.com/embed/J1BihonDew8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MC8cKtqusp4'\n title='//www.youtube.com/embed/MC8cKtqusp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aJS-mpU1FDA'\n title='//www.youtube.com/embed/aJS-mpU1FDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963967/best-new-tv-shows-streaming-fall-2024-npr-critics-picks",
"authors": [
"byline_arts_13963967"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_22281",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963968",
"label": "arts_140"
},
"arts_13963867": {
"type": "posts",
"id": "arts_13963867",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963867",
"score": null,
"sort": [
1725902170000
]
},
"guestAuthors": [],
"slug": "were-alone-edwidge-danticat-new-essay-collection-book-review",
"title": "‘We’re Alone,’ but Together, in Edwidge Danticat’s Remarkable Essays",
"publishDate": 1725902170,
"format": "aside",
"headTitle": "‘We’re Alone,’ but Together, in Edwidge Danticat’s Remarkable Essays | KQED",
"labelTerm": {},
"content": "\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13963868\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg\" alt=\"A book cover featuring a photo of a Black woman standing in a body of water looking at artwork hanging from a clothes rack.\" width=\"1000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-768x1152.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re Alone’ by Edwidge Danticat. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading Edwidge Danticat’s \u003cem>We’re Alone \u003c/em>is like sitting down to listen to an old friend. Personal, touching, rich in observations, smart, resonant, vibrant and complex, the eight essays that make up this collection open a door into Danticat’s past and present, her history and the history of Haiti, her relationship to worldly things and to the work of timeless writers. With clear, concise prose that delves into harsh topics without losing its sense of humor, Danticat once again proves that she is one of contemporary literature’s strongest, most graceful voices.\u003c/p>\n\u003cp>\u003cem>We’re Alone\u003c/em> opens with a preface in which Danticat explains that, for her, writing essays is a quest for a very specific “kind of aloneness/togetherness, as well as something akin to what the Haitian American anthropologist and artist Gina Athena Ulysse has labeled \u003cem>rasanblaj\u003c/em>, which she defines as “assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas).” That aloneness/togetherness is present in every essay. We all experience things differently, but the way Danticat talks about love, loss, migration, grief and injustice, to name a few, makes them feel patently universal.\u003c/p>\n\u003cp>[aside postid='arts_13960144']This short collection has no throwaways, but some standouts merit individual attention.\u003c/p>\n\u003cp>“They Are Waiting in the Hills: Traveling with Lorraine Hansberry, Audre Lorde, James Baldwin, Gabriel García Márquez, Paule Marshall, and Toni Morrison” is, despite its long title, a wonderfully paced essay in which Danticat shares some of her own travels and experiences throughout her career while simultaneously entering into a conversation, full of admiration, with the authors named in the title. Danticat is an accomplished writer, but this essay is all about her love of literature and the way the work of others have impacted her and sometimes worked as a lens through which she could start processing various experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “This Is My Body,” we’re right there with the author two days before Christmas of 2017 as she ditches her car, runs away from a shooter at a mall and hides behind a bush. The shooting turned out to be one of many hoaxes perpetrated that year so people could steal from stores during the ensuing chaos, but for Danticat, recounting the experience is an excuse to get the conversation started. From there, the piece morphs into an essay about parenting, her own mother’s death from cancer, and how she tried to parent even from beyond the grave by leaving Danticat and her brothers a tape with instructions for life, including what she wanted the author to wear at her funeral. From there, the essay moves — smoothly, always — into a discussion of hunger and, among other things, the ethics of force-feeding at Guantanamo and a recognition of how the “grace of the young Parkland survivors, their eloquence, their efforts to include less privileged youth — among them young people of color whose communities are chronically and disproportionately affected by gun violence — has been especially eye opening.”\u003c/p>\n\u003cp>“By the Time You Read This” is another marvel that seamlessly weaves together past and present while exploring the death of George Floyd, recounting the racism Danticat observed while riding New York City Transit buses, and then touches on the massive migration of African Americans from rural areas in the South to cities in the North of the United States.\u003c/p>\n\u003cp>[aside postid='arts_13963659']The rest of the essays share the same shapeshifting nature. However, they do so while also containing at least one of the cohesive elements that make the book feel like a whole; history, family, racism, Haiti, migration, literature, etc. Danticat masterfully moves from one topic or idea to the next with the powerful fluidity of a raging river. From every Haitian being suspected of having AIDS to memories of the “ruthless Duvalier dictatorship,” every essay here contains at least a slice of history. From a discussion of temporary protected status for Haitians that turns into a conversation about rainbows to the many excerpts of poems and names that celebrate Black excellence throughout the collection — Toni Morrison, Alice Walker, Audre Lorde, Gwendolyn Brooks, Nikki Giovanni, Maya Angelou — this collection shows exactly where Danticat fits, and just how much her work is in conversation with that of other giants.\u003c/p>\n\u003cp>\u003cem>We’re Alone \u003c/em>accomplishes a lot, but perhaps the most important thing it does is that it manages to feel like an invitation from the opening pages. Yes, this is Danticat talking about racism and injustice while digging deep and showing us just how ugly humanity can be, but it’s also a collection full of hope and a celebration of writing. Ultimately, this is more than a collection of essays; this is an invitation. “You’re alone and I’m alone,” says Danticat in one way or another in every essay, “but if you join me, we can be alone together.” This beautiful invitation is one I encourage you to accept.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We’re Alone’ by Edwidge Danticat is out now, via Graywolf Press.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "With prose that delves into harsh topics while retaining humor, Danticat proves she’s one of literature's most graceful voices.",
"status": "publish",
"parent": 0,
"modified": 1726700677,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 880
},
"headData": {
"title": "Book Review: ‘We’re Alone’ by Edwidge Danticat | KQED",
"description": "With prose that delves into harsh topics while retaining humor, Danticat proves she’s one of literature's most graceful voices.",
"ogTitle": "‘We’re Alone,’ but Together, in Edwidge Danticat’s Remarkable Essays",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘We’re Alone,’ but Together, in Edwidge Danticat’s Remarkable Essays",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘We’re Alone’ by Edwidge Danticat %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘We’re Alone,’ but Together, in Edwidge Danticat’s Remarkable Essays",
"datePublished": "2024-09-09T10:16:10-07:00",
"dateModified": "2024-09-18T16:04:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"nprByline": "Gabino Iglesias, NPR",
"nprStoryId": "nx-s1-5100218",
"nprHtmlLink": "https://www.npr.org/2024/09/09/nx-s1-5100218/were-alone-edwidge-danticat",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-09T09:00:00-04:00",
"nprStoryDate": "2024-09-09T09:00:00-04:00",
"nprLastModifiedDate": "2024-09-09T09:00:20.568-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963867/were-alone-edwidge-danticat-new-essay-collection-book-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13963868\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg\" alt=\"A book cover featuring a photo of a Black woman standing in a body of water looking at artwork hanging from a clothes rack.\" width=\"1000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-768x1152.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re Alone’ by Edwidge Danticat. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading Edwidge Danticat’s \u003cem>We’re Alone \u003c/em>is like sitting down to listen to an old friend. Personal, touching, rich in observations, smart, resonant, vibrant and complex, the eight essays that make up this collection open a door into Danticat’s past and present, her history and the history of Haiti, her relationship to worldly things and to the work of timeless writers. With clear, concise prose that delves into harsh topics without losing its sense of humor, Danticat once again proves that she is one of contemporary literature’s strongest, most graceful voices.\u003c/p>\n\u003cp>\u003cem>We’re Alone\u003c/em> opens with a preface in which Danticat explains that, for her, writing essays is a quest for a very specific “kind of aloneness/togetherness, as well as something akin to what the Haitian American anthropologist and artist Gina Athena Ulysse has labeled \u003cem>rasanblaj\u003c/em>, which she defines as “assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas).” That aloneness/togetherness is present in every essay. We all experience things differently, but the way Danticat talks about love, loss, migration, grief and injustice, to name a few, makes them feel patently universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960144",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This short collection has no throwaways, but some standouts merit individual attention.\u003c/p>\n\u003cp>“They Are Waiting in the Hills: Traveling with Lorraine Hansberry, Audre Lorde, James Baldwin, Gabriel García Márquez, Paule Marshall, and Toni Morrison” is, despite its long title, a wonderfully paced essay in which Danticat shares some of her own travels and experiences throughout her career while simultaneously entering into a conversation, full of admiration, with the authors named in the title. Danticat is an accomplished writer, but this essay is all about her love of literature and the way the work of others have impacted her and sometimes worked as a lens through which she could start processing various experiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “This Is My Body,” we’re right there with the author two days before Christmas of 2017 as she ditches her car, runs away from a shooter at a mall and hides behind a bush. The shooting turned out to be one of many hoaxes perpetrated that year so people could steal from stores during the ensuing chaos, but for Danticat, recounting the experience is an excuse to get the conversation started. From there, the piece morphs into an essay about parenting, her own mother’s death from cancer, and how she tried to parent even from beyond the grave by leaving Danticat and her brothers a tape with instructions for life, including what she wanted the author to wear at her funeral. From there, the essay moves — smoothly, always — into a discussion of hunger and, among other things, the ethics of force-feeding at Guantanamo and a recognition of how the “grace of the young Parkland survivors, their eloquence, their efforts to include less privileged youth — among them young people of color whose communities are chronically and disproportionately affected by gun violence — has been especially eye opening.”\u003c/p>\n\u003cp>“By the Time You Read This” is another marvel that seamlessly weaves together past and present while exploring the death of George Floyd, recounting the racism Danticat observed while riding New York City Transit buses, and then touches on the massive migration of African Americans from rural areas in the South to cities in the North of the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963659",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The rest of the essays share the same shapeshifting nature. However, they do so while also containing at least one of the cohesive elements that make the book feel like a whole; history, family, racism, Haiti, migration, literature, etc. Danticat masterfully moves from one topic or idea to the next with the powerful fluidity of a raging river. From every Haitian being suspected of having AIDS to memories of the “ruthless Duvalier dictatorship,” every essay here contains at least a slice of history. From a discussion of temporary protected status for Haitians that turns into a conversation about rainbows to the many excerpts of poems and names that celebrate Black excellence throughout the collection — Toni Morrison, Alice Walker, Audre Lorde, Gwendolyn Brooks, Nikki Giovanni, Maya Angelou — this collection shows exactly where Danticat fits, and just how much her work is in conversation with that of other giants.\u003c/p>\n\u003cp>\u003cem>We’re Alone \u003c/em>accomplishes a lot, but perhaps the most important thing it does is that it manages to feel like an invitation from the opening pages. Yes, this is Danticat talking about racism and injustice while digging deep and showing us just how ugly humanity can be, but it’s also a collection full of hope and a celebration of writing. Ultimately, this is more than a collection of essays; this is an invitation. “You’re alone and I’m alone,” says Danticat in one way or another in every essay, “but if you join me, we can be alone together.” This beautiful invitation is one I encourage you to accept.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We’re Alone’ by Edwidge Danticat is out now, via Graywolf Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963867/were-alone-edwidge-danticat-new-essay-collection-book-review",
"authors": [
"byline_arts_13963867"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963873",
"label": "source_arts_13963867"
},
"arts_13963817": {
"type": "posts",
"id": "arts_13963817",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963817",
"score": null,
"sort": [
1725645682000
]
},
"guestAuthors": [],
"slug": "beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"title": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"publishDate": 1725645682,
"format": "standard",
"headTitle": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>[aside postid='arts_13958707']But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=As-vKW4ZboU\u003c/p>\n\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>[aside postid='arts_13963648']Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>[aside postid='arts_13963688']Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>[aside postid='arts_13963123']And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Tim Burton is back with ‘Beetlejuice Beetlejuice’ 36 years after the original. For once, the question ‘Why a sequel?’ is moot.",
"status": "publish",
"parent": 0,
"modified": 1725645682,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1068
},
"headData": {
"title": "‘Beetlejuice, Beetlejuice’ Review: Burton’s Joyous Sequel | KQED",
"description": "Tim Burton is back with ‘Beetlejuice Beetlejuice’ 36 years after the original. For once, the question ‘Why a sequel?’ is moot.",
"ogTitle": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Beetlejuice, Beetlejuice’ Review: Burton’s Joyous Sequel %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
"datePublished": "2024-09-06T11:01:22-07:00",
"dateModified": "2024-09-06T11:01:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jocelyn Noveck, Associated Press",
"nprStoryId": "kqed-13963817",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963817/beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958707",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\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/As-vKW4ZboU'\n title='//www.youtube.com/embed/As-vKW4ZboU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963648",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963688",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963123",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963817/beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"authors": [
"byline_arts_13963817"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13963825",
"label": "arts_140"
},
"arts_13963803": {
"type": "posts",
"id": "arts_13963803",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963803",
"score": null,
"sort": [
1725645134000
]
},
"guestAuthors": [],
"slug": "review-joe-hisaishi-studio-ghibli-san-francisco-symphony",
"title": "Review: Joe Hisaishi’s Studio Ghibli Music Soars at the San Francisco Symphony",
"publishDate": 1725645134,
"format": "aside",
"headTitle": "Review: Joe Hisaishi’s Studio Ghibli Music Soars at the San Francisco Symphony | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13934544']Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>[aside postID='arts_13955606']On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Music from Hayao Miyazaki's timeless films drew an exceptionally diverse crowd at Davis Symphony Hall. ",
"status": "publish",
"parent": 0,
"modified": 1726589312,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 855
},
"headData": {
"title": "Review: Joe Hisaishi’s Studio Ghibli Music Soars at the San Francisco Symphony | KQED",
"description": "Music from Hayao Miyazaki's timeless films drew an exceptionally diverse crowd at Davis Symphony Hall. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Review: Joe Hisaishi’s Studio Ghibli Music Soars at the San Francisco Symphony",
"datePublished": "2024-09-06T10:52:14-07:00",
"dateModified": "2024-09-17T09:08:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963803",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963803/review-joe-hisaishi-studio-ghibli-san-francisco-symphony",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13934544",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13955606",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963803/review-joe-hisaishi-studio-ghibli-san-francisco-symphony",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_22013",
"arts_4058",
"arts_10278",
"arts_769",
"arts_1367"
],
"featImg": "arts_13963819",
"label": "arts"
},
"arts_13963775": {
"type": "posts",
"id": "arts_13963775",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963775",
"score": null,
"sort": [
1725576782000
]
},
"guestAuthors": [],
"slug": "the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"title": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"publishDate": 1725576782,
"format": "standard",
"headTitle": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Season 4 brings a fresh influx of guest talent to ‘Only Murders in the Building,’ but the new faces don’t outshine the stars.",
"status": "publish",
"parent": 0,
"modified": 1725580994,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 659
},
"headData": {
"title": "Why ‘Only Murders in the Building’ Deserves More Emmys | KQED",
"description": "Season 4 brings a fresh influx of guest talent to ‘Only Murders in the Building,’ but the new faces don’t outshine the stars.",
"ogTitle": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"twDescription": "",
"twImgId": "",
"socialTitle": "Why ‘Only Murders in the Building’ Deserves More Emmys %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
"datePublished": "2024-09-05T15:53:02-07:00",
"dateModified": "2024-09-05T17:03:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "David Bianculli, NPR",
"nprStoryId": "nx-s1-5101549",
"nprHtmlLink": "https://www.npr.org/2024/09/05/nx-s1-5101549/only-murders-in-the-building-season-4",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-05T17:00:00-04:00",
"nprStoryDate": "2024-09-05T17:00:00-04:00",
"nprLastModifiedDate": "2024-09-05T17:00:04.257-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963775/the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962860",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\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/dKyX8rocAB8'\n title='//www.youtube.com/embed/dKyX8rocAB8'\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>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963546",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963775/the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"authors": [
"byline_arts_13963775"
],
"categories": [
"arts_1",
"arts_968",
"arts_75",
"arts_990"
],
"tags": [
"arts_5234",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963776",
"label": "arts_137"
},
"arts_13963688": {
"type": "posts",
"id": "arts_13963688",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963688",
"score": null,
"sort": [
1725573945000
]
},
"guestAuthors": [],
"slug": "seeking-mavis-beacon-documentary-review-jazmin-jones",
"title": "‘Seeking Mavis Beacon’ Argues That Not Everyone Needs to Be Found",
"publishDate": 1725573945,
"format": "standard",
"headTitle": "‘Seeking Mavis Beacon’ Argues That Not Everyone Needs to Be Found | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>For certain generations of schoolchildren, the software \u003ca href=\"https://en.wikipedia.org/wiki/Mavis_Beacon_Teaches_Typing\">Mavis Beacon Teaches Typing\u003c/a> was \u003ci>the\u003c/i> gateway to a life spent clacking away at keyboards. For an hour or so each week, we would file into our school computer labs and learn about QWERTY, practice using the shift key and work on upping our WPM with a truly stressful speed typing exercise that involved outpacing a pursuing car and avoiding typos in the form of bug splats on the windshield. \u003c/p>\n\u003cp>[aside postID='arts_13962898']Mavis was our benevolent, if fictional, instructor. She beamed from the \u003ca href=\"https://www.allvideoclassicgames.com/cdn/shop/products/mavis_beacon2_box.jpg\">cover of the Software Toolworks packaging\u003c/a> as a rare sight in a world of technology dreamed up by white men in Silicon Valley garages: a Black woman of great knowledge and skill.\u003c/p>\n\u003cp>For director \u003ca href=\"https://www.jazminjones.com/\">Jazmin Jones\u003c/a> and her collaborator and associate producer \u003ca href=\"https://www.instagram.com/cyberdoula/?hl=en\">Olivia McKayla Ross\u003c/a>, Mavis Beacon is a hero, a symbol of their right to use and create technology. In this vein, their project to find the real woman who posed for the role of Mavis in 1987 — Haitian immigrant Renée L’Espérance — is a kind of mythical quest. \u003ci>\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>\u003c/i>, Jones’ excellent new documentary opening Sept. 6 at the Roxie, follows the pair’s attempts to find L’Espérance, honor her and eventually give her the respect and consideration she did not receive as Toolworks’ self-proclaimed “Betty Crocker.”\u003c/p>\n\u003cfigure id=\"attachment_13963740\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg\" alt=\"Two Black women face each other across table in eclectically decorated space\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia McKayla Ross and Jazmin Jones in their West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmed between 2020 and 2023, \u003ci>Seeking\u003c/i> is many things: a thrilling IRL investigation; an argument for representation in technology; a manifesto on cyberfeminism; a buddy film; a cross-country adventure; a pandemic-era story about separation and dislocation; and an ethical conundrum that plays out transparently, sensitively, in very real conversations. \u003c/p>\n\u003cp>“It’s about us on the road, finding ourselves [in a] coming-of-age journey,” Jones says. “Which is great because initially I thought I was just making a really brooding detective movie. And with Olivia’s involvement came the whimsy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first half of \u003ci>Seeking\u003c/i> has a kind of madcap momentum, fueled by Jones and Ross’ neon-hued build-out of their West Oakland investigation headquarters, their warm hang sessions and surreal man-on-the-street interviews about the lasting influence of Mavis Beacon. The pair are dressed fabulously throughout.\u003c/p>\n\u003cp>Between this footage, the documentary deploys a computer desktop view as an evidence board (though there’s a physical one of those too). Files and videos pop up and play in ingenious, fast-paced montage sequences. For those used to staring at a computer screen with too many tabs open, this presentation feels completely natural, and allows for delightful, wide-ranging references: a Stan Brakhage experimental film clip, a Sade interview about stepping back from fame. \u003c/p>\n\u003cfigure id=\"attachment_13963741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg\" alt=\"Black women stand around a circle of candles\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ritual conducted in Jones and Ross’ West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At roughly the midway point, a shift occurs. “We thought that the reason no one had spoken to Renée is because the right people hadn’t asked the right questions,” Jones says. But what if L’Espérance’s two-decade-plus absence from the public eye is actually a calculated move? We watch, in real time, as Jones and Ross reevaluate their own narrative understanding of the situation. \u003c/p>\n\u003cp>Tracking people down for the sake of feeding either nostalgia or collective curiosity has become a cottage industry in the realms of documentary film, podcasting and “where are they now” clickbait stories. Most of those offerings leave a icky aftertaste, but \u003ci>Seeking Mavis Beacon\u003c/i> stands apart, through the clear earnestness of its protagonists and the care they take to consider the ramifications of continuing their search.\u003c/p>\n\u003cp>By the end of the film, Jones and Ross have gone through something, and we’ve been right there along with them, examining our own impulses towards cut-and-dry answers and easily searchable results. The manifesto has shifted: people have the right to disappear.\u003c/p>\n\u003cp>“There was a really sweet young filmmaker at the beginning that was like, ‘We’re going to give her a platform that she never had, and she’s going to love us, and we’re going to be best friends and get the best interview ever,’” Jones says. “I’m really glad that I got to grow past that.”\u003c/p>\n\u003cp>The film’s great gift is that it models a new relationship to information, privacy and artmaking that is not only fun to watch, but just as instructive as a certain high-stakes typing test. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’ begins screening at the Roxie Theater (3117 16th St., San Francisco) on Sept. 6, 2024.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In a new documentary, two DIY detectives search for the real woman whose face launched an educational software empire.",
"status": "publish",
"parent": 0,
"modified": 1725573945,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 828
},
"headData": {
"title": "‘Seeking Mavis Beacon’ Review: An Icon Remains Elusive | KQED",
"description": "In a new documentary, two DIY detectives search for the real woman whose face launched an educational software empire.",
"ogTitle": "‘Seeking Mavis Beacon’ Argues That Not Everyone Needs to Be Found",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Seeking Mavis Beacon’ Argues That Not Everyone Needs to Be Found",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Seeking Mavis Beacon’ Review: An Icon Remains Elusive %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Seeking Mavis Beacon’ Argues That Not Everyone Needs to Be Found",
"datePublished": "2024-09-05T15:05:45-07:00",
"dateModified": "2024-09-05T15:05:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963688",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963688/seeking-mavis-beacon-documentary-review-jazmin-jones",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For certain generations of schoolchildren, the software \u003ca href=\"https://en.wikipedia.org/wiki/Mavis_Beacon_Teaches_Typing\">Mavis Beacon Teaches Typing\u003c/a> was \u003ci>the\u003c/i> gateway to a life spent clacking away at keyboards. For an hour or so each week, we would file into our school computer labs and learn about QWERTY, practice using the shift key and work on upping our WPM with a truly stressful speed typing exercise that involved outpacing a pursuing car and avoiding typos in the form of bug splats on the windshield. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962898",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Mavis was our benevolent, if fictional, instructor. She beamed from the \u003ca href=\"https://www.allvideoclassicgames.com/cdn/shop/products/mavis_beacon2_box.jpg\">cover of the Software Toolworks packaging\u003c/a> as a rare sight in a world of technology dreamed up by white men in Silicon Valley garages: a Black woman of great knowledge and skill.\u003c/p>\n\u003cp>For director \u003ca href=\"https://www.jazminjones.com/\">Jazmin Jones\u003c/a> and her collaborator and associate producer \u003ca href=\"https://www.instagram.com/cyberdoula/?hl=en\">Olivia McKayla Ross\u003c/a>, Mavis Beacon is a hero, a symbol of their right to use and create technology. In this vein, their project to find the real woman who posed for the role of Mavis in 1987 — Haitian immigrant Renée L’Espérance — is a kind of mythical quest. \u003ci>\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>\u003c/i>, Jones’ excellent new documentary opening Sept. 6 at the Roxie, follows the pair’s attempts to find L’Espérance, honor her and eventually give her the respect and consideration she did not receive as Toolworks’ self-proclaimed “Betty Crocker.”\u003c/p>\n\u003cfigure id=\"attachment_13963740\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg\" alt=\"Two Black women face each other across table in eclectically decorated space\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia McKayla Ross and Jazmin Jones in their West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmed between 2020 and 2023, \u003ci>Seeking\u003c/i> is many things: a thrilling IRL investigation; an argument for representation in technology; a manifesto on cyberfeminism; a buddy film; a cross-country adventure; a pandemic-era story about separation and dislocation; and an ethical conundrum that plays out transparently, sensitively, in very real conversations. \u003c/p>\n\u003cp>“It’s about us on the road, finding ourselves [in a] coming-of-age journey,” Jones says. “Which is great because initially I thought I was just making a really brooding detective movie. And with Olivia’s involvement came the whimsy.”\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 first half of \u003ci>Seeking\u003c/i> has a kind of madcap momentum, fueled by Jones and Ross’ neon-hued build-out of their West Oakland investigation headquarters, their warm hang sessions and surreal man-on-the-street interviews about the lasting influence of Mavis Beacon. The pair are dressed fabulously throughout.\u003c/p>\n\u003cp>Between this footage, the documentary deploys a computer desktop view as an evidence board (though there’s a physical one of those too). Files and videos pop up and play in ingenious, fast-paced montage sequences. For those used to staring at a computer screen with too many tabs open, this presentation feels completely natural, and allows for delightful, wide-ranging references: a Stan Brakhage experimental film clip, a Sade interview about stepping back from fame. \u003c/p>\n\u003cfigure id=\"attachment_13963741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg\" alt=\"Black women stand around a circle of candles\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ritual conducted in Jones and Ross’ West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At roughly the midway point, a shift occurs. “We thought that the reason no one had spoken to Renée is because the right people hadn’t asked the right questions,” Jones says. But what if L’Espérance’s two-decade-plus absence from the public eye is actually a calculated move? We watch, in real time, as Jones and Ross reevaluate their own narrative understanding of the situation. \u003c/p>\n\u003cp>Tracking people down for the sake of feeding either nostalgia or collective curiosity has become a cottage industry in the realms of documentary film, podcasting and “where are they now” clickbait stories. Most of those offerings leave a icky aftertaste, but \u003ci>Seeking Mavis Beacon\u003c/i> stands apart, through the clear earnestness of its protagonists and the care they take to consider the ramifications of continuing their search.\u003c/p>\n\u003cp>By the end of the film, Jones and Ross have gone through something, and we’ve been right there along with them, examining our own impulses towards cut-and-dry answers and easily searchable results. The manifesto has shifted: people have the right to disappear.\u003c/p>\n\u003cp>“There was a really sweet young filmmaker at the beginning that was like, ‘We’re going to give her a platform that she never had, and she’s going to love us, and we’re going to be best friends and get the best interview ever,’” Jones says. “I’m really glad that I got to grow past that.”\u003c/p>\n\u003cp>The film’s great gift is that it models a new relationship to information, privacy and artmaking that is not only fun to watch, but just as instructive as a certain high-stakes typing test. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’ begins screening at the Roxie Theater (3117 16th St., San Francisco) on Sept. 6, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963688/seeking-mavis-beacon-documentary-review-jazmin-jones",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_10278",
"arts_977",
"arts_769",
"arts_585"
],
"featImg": "arts_13963739",
"label": "arts_140"
},
"arts_13963695": {
"type": "posts",
"id": "arts_13963695",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963695",
"score": null,
"sort": [
1725561092000
]
},
"guestAuthors": [],
"slug": "i-just-keep-talking-is-a-refreshing-and-wide-ranging-essay-collection",
"title": "‘I Just Keep Talking’ Is a Refreshing and Wide-Ranging Essay Collection",
"publishDate": 1725561092,
"format": "aside",
"headTitle": "‘I Just Keep Talking’ Is a Refreshing and Wide-Ranging Essay Collection | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13963702\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking.png\" alt=\"A book cover featuring an abstract illustration of a face.\" width=\"1359\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-800x1177.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-1020x1501.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-768x1130.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-1044x1536.png 1044w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">‘I Just Keep Talking’ by Nell Irvin Painter. \u003ccite>(Doubleday )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nell Irvin Painter — author, scholar, historian, artist, raconteur — rocked my world with her \u003ca href=\"https://wwnorton.com/books/9780393339741\">\u003cem>The History of\u003c/em> \u003cem>White People\u003c/em>\u003c/a> and endeared me with her memoir \u003ca href=\"https://www.counterpointpress.com/books/old-in-art-school/\">\u003cem>Old in Art School\u003c/em>.\u003c/a> Painter’s latest book, \u003cem>I Just Keep Talking\u003c/em> is an insightful addition to her canon.\u003c/p>\n\u003cp>[aside postid='arts_13963567']Painter’s professional accomplishments are stratospheric: a chair in the American History Department at Princeton, bestselling author of eight books along with others she’s edited, too many other publications to count, and an entirely separate career as a visual artist. She calls her latest book \u003cem>A Life in Essays\u003c/em>, which I found reductive. Although the first group of essays is entitled \u003cem>Autobiography\u003c/em>, this volume reaches far beyond Nell Painter’s own story in the best possible way.\u003c/p>\n\u003cp>Painter’s \u003cem>The History of White People\u003c/em> combines scholarship with readability to prove that “whiteness” is a relatively newly created sociological construct. Slavery has been around for millennia, as has war and conquering peoples, but whiteness, with its bizarre, insidious, and pervasive myths about racial superiority, dates from around the 15th century forward. The concept of whiteness is entangled with America’s mendacious justifications for its capture and trade in human beings, and the terrible, lasting consequences of chattel slavery.\u003c/p>\n\u003cp>Painter has been clear that she stands on the shoulders of others in naming whiteness as a construct. What makes \u003cem>The History of White People\u003c/em> indispensable is that it collects the historical antecedents of whiteness in a compelling narrative, and calls out to readers, including myself, the need to unlearn whiteness as a norm, even — and especially — if it is an unconscious norm.\u003c/p>\n\u003cp>As Painter wound down from a full academic load at Princeton, she obtained undergraduate and graduate degrees in fine art. In \u003cem>Old in Art School,\u003c/em> as well as this current volume, she recounts the putdowns and hazing she suffered from fellow art students and her art professors, just as \u003cem>The History of White People\u003c/em> was hitting the bestseller lists. Painter acknowledges that book’s commercial success but does not hide her bitterness that it did not win any major prizes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Painter’s tour through her life and interests makes for a fascinating journey. To introduce her essay collection, Painter writes, “My Blackness isn’t broken… Mine is a Blackness of solidarity, a community, a connectedness….” She grew up in an intellectual family in the Bay Area amidst the burgeoning Black power movement. Her studies took her to Ghana and Paris, before completing her Ph.D. in U.S. history at Harvard.\u003c/p>\n\u003cp>Painter started making art at an early age. She threads that interest through the essays, wondering what would have happened if her professional life had started with art, instead of as a scholar.\u003c/p>\n\u003cp>[aside postid='arts_13963277']Painter’s captivating mixed media illustrations in \u003cem>I Just Keep Talking\u003c/em> speak to injustice. She combines words that blister — “same frustrations for 25 years” (a work from 2022), with blocks of color and figurative representations. I felt drawn in by these visual pieces with their trenchant messages. “This text + art is the way I work, the way I think,” she writes. In Painter’s hands, a picture\u003cem> can \u003c/em>be worth a thousand words.\u003c/p>\n\u003cp>Painter’s essays pose critical questions. She will not accept received wisdom at face value, refuses the status quo, and freely offers her expert opinions. The pieces in this book address such wide topics as the meaning of history and historiography; America’s false, rose-colored-glasses-interpretation of slavery; the appalling absence of Black people from America’s story about itself; how and where feminism fits in; southern American history; the white gaze; and visual culture.\u003c/p>\n\u003cp>She takes a hard look at Thomas Jefferson’s hypocrisy concerning Black people and slavery, and compares his viewpoint to that of Charles Dickens, who toured the U.S. 15 years after Jefferson died. Audiences cooled to Dickens after he “excoriate[d] Americans for…tolerating the continued existence of enslavement by shrugging their shoulders, saying nothing can be done on account of ‘public opinion.’”\u003c/p>\n\u003cp>Painter was onto Supreme Court Justice Clarence Thomas well before Professor Hill delivered her explosive testimony at his confirmation hearing. In a chapter called “Hill, Thomas, and the Use of Racial Stereotype,” Painter delivers a withering takedown of Thomas’ manipulation of gender stereotypes to advantage himself.\u003c/p>\n\u003cp>[aside postid='arts_13963659']Painter dates her essays and provides extensive endnotes, but I wanted more information about which essays had been previously published and which, if any, derived from unpublished journal entries. I wondered particularly about the shorter, less annotated pieces, which I could imagine her writing to develop analyses for longer efforts (though only speculation on my part).\u003c/p>\n\u003cp>The variety in length and scholarly sophistication is refreshing in this collection. Each entry deals with topics that are sadly as relevant today as they have been throughout America’s history.\u003c/p>\n\u003cp>Please keep talking Nell Painter, and we’ll keep listening.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Martha Anne Toll is a D.C.-based writer and reviewer. Her debut novel ‘\u003ca href=\"https://www.regalhousepublishing.com/product/three-muses/\">Three Muses\u003c/a>’ won the Petrichor Prize for Finely Crafted Fiction and was shortlisted for the Gotham Book Prize. Her second novel ‘Duet for One’ is due out May 2025.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Scholar, historian and artist Nell Irvin Painter’s latest book is an insightful addition to her canon.",
"status": "publish",
"parent": 0,
"modified": 1741715486,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 915
},
"headData": {
"title": "Book Review: ‘I Just Keep Talking’ by Nell Irvin Painter | KQED",
"description": "Scholar, historian and artist Nell Irvin Painter’s latest book is an insightful addition to her canon.",
"ogTitle": "‘I Just Keep Talking’ Is a Refreshing and Wide-Ranging Essay Collection",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘I Just Keep Talking’ Is a Refreshing and Wide-Ranging Essay Collection",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘I Just Keep Talking’ by Nell Irvin Painter%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘I Just Keep Talking’ Is a Refreshing and Wide-Ranging Essay Collection",
"datePublished": "2024-09-05T11:31:32-07:00",
"dateModified": "2025-03-11T10:51:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Martha Anne Toll",
"nprStoryId": "nx-s1-5099241",
"nprHtmlLink": "https://www.npr.org/2024/09/04/nx-s1-5099241/nell-painter-i-just-keep-talking",
"nprRetrievedStory": "1",
"nprPubDate": "2024-09-05T09:00:00-04:00",
"nprStoryDate": "2024-09-05T09:00:00-04:00",
"nprLastModifiedDate": "2024-09-05T09:00:04.104-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963695/i-just-keep-talking-is-a-refreshing-and-wide-ranging-essay-collection",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963702\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking.png\" alt=\"A book cover featuring an abstract illustration of a face.\" width=\"1359\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-800x1177.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-1020x1501.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-768x1130.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-1044x1536.png 1044w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">‘I Just Keep Talking’ by Nell Irvin Painter. \u003ccite>(Doubleday )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nell Irvin Painter — author, scholar, historian, artist, raconteur — rocked my world with her \u003ca href=\"https://wwnorton.com/books/9780393339741\">\u003cem>The History of\u003c/em> \u003cem>White People\u003c/em>\u003c/a> and endeared me with her memoir \u003ca href=\"https://www.counterpointpress.com/books/old-in-art-school/\">\u003cem>Old in Art School\u003c/em>.\u003c/a> Painter’s latest book, \u003cem>I Just Keep Talking\u003c/em> is an insightful addition to her canon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963567",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Painter’s professional accomplishments are stratospheric: a chair in the American History Department at Princeton, bestselling author of eight books along with others she’s edited, too many other publications to count, and an entirely separate career as a visual artist. She calls her latest book \u003cem>A Life in Essays\u003c/em>, which I found reductive. Although the first group of essays is entitled \u003cem>Autobiography\u003c/em>, this volume reaches far beyond Nell Painter’s own story in the best possible way.\u003c/p>\n\u003cp>Painter’s \u003cem>The History of White People\u003c/em> combines scholarship with readability to prove that “whiteness” is a relatively newly created sociological construct. Slavery has been around for millennia, as has war and conquering peoples, but whiteness, with its bizarre, insidious, and pervasive myths about racial superiority, dates from around the 15th century forward. The concept of whiteness is entangled with America’s mendacious justifications for its capture and trade in human beings, and the terrible, lasting consequences of chattel slavery.\u003c/p>\n\u003cp>Painter has been clear that she stands on the shoulders of others in naming whiteness as a construct. What makes \u003cem>The History of White People\u003c/em> indispensable is that it collects the historical antecedents of whiteness in a compelling narrative, and calls out to readers, including myself, the need to unlearn whiteness as a norm, even — and especially — if it is an unconscious norm.\u003c/p>\n\u003cp>As Painter wound down from a full academic load at Princeton, she obtained undergraduate and graduate degrees in fine art. In \u003cem>Old in Art School,\u003c/em> as well as this current volume, she recounts the putdowns and hazing she suffered from fellow art students and her art professors, just as \u003cem>The History of White People\u003c/em> was hitting the bestseller lists. Painter acknowledges that book’s commercial success but does not hide her bitterness that it did not win any major prizes.\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>Painter’s tour through her life and interests makes for a fascinating journey. To introduce her essay collection, Painter writes, “My Blackness isn’t broken… Mine is a Blackness of solidarity, a community, a connectedness….” She grew up in an intellectual family in the Bay Area amidst the burgeoning Black power movement. Her studies took her to Ghana and Paris, before completing her Ph.D. in U.S. history at Harvard.\u003c/p>\n\u003cp>Painter started making art at an early age. She threads that interest through the essays, wondering what would have happened if her professional life had started with art, instead of as a scholar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963277",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Painter’s captivating mixed media illustrations in \u003cem>I Just Keep Talking\u003c/em> speak to injustice. She combines words that blister — “same frustrations for 25 years” (a work from 2022), with blocks of color and figurative representations. I felt drawn in by these visual pieces with their trenchant messages. “This text + art is the way I work, the way I think,” she writes. In Painter’s hands, a picture\u003cem> can \u003c/em>be worth a thousand words.\u003c/p>\n\u003cp>Painter’s essays pose critical questions. She will not accept received wisdom at face value, refuses the status quo, and freely offers her expert opinions. The pieces in this book address such wide topics as the meaning of history and historiography; America’s false, rose-colored-glasses-interpretation of slavery; the appalling absence of Black people from America’s story about itself; how and where feminism fits in; southern American history; the white gaze; and visual culture.\u003c/p>\n\u003cp>She takes a hard look at Thomas Jefferson’s hypocrisy concerning Black people and slavery, and compares his viewpoint to that of Charles Dickens, who toured the U.S. 15 years after Jefferson died. Audiences cooled to Dickens after he “excoriate[d] Americans for…tolerating the continued existence of enslavement by shrugging their shoulders, saying nothing can be done on account of ‘public opinion.’”\u003c/p>\n\u003cp>Painter was onto Supreme Court Justice Clarence Thomas well before Professor Hill delivered her explosive testimony at his confirmation hearing. In a chapter called “Hill, Thomas, and the Use of Racial Stereotype,” Painter delivers a withering takedown of Thomas’ manipulation of gender stereotypes to advantage himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963659",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Painter dates her essays and provides extensive endnotes, but I wanted more information about which essays had been previously published and which, if any, derived from unpublished journal entries. I wondered particularly about the shorter, less annotated pieces, which I could imagine her writing to develop analyses for longer efforts (though only speculation on my part).\u003c/p>\n\u003cp>The variety in length and scholarly sophistication is refreshing in this collection. Each entry deals with topics that are sadly as relevant today as they have been throughout America’s history.\u003c/p>\n\u003cp>Please keep talking Nell Painter, and we’ll keep listening.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Martha Anne Toll is a D.C.-based writer and reviewer. Her debut novel ‘\u003ca href=\"https://www.regalhousepublishing.com/product/three-muses/\">Three Muses\u003c/a>’ won the Petrichor Prize for Finely Crafted Fiction and was shortlisted for the Gotham Book Prize. Her second novel ‘Duet for One’ is due out May 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963695/i-just-keep-talking-is-a-refreshing-and-wide-ranging-essay-collection",
"authors": [
"byline_arts_13963695"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_7862"
],
"tags": [
"arts_22296",
"arts_3650",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13963704",
"label": "arts_140"
},
"arts_13963277": {
"type": "posts",
"id": "arts_13963277",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963277",
"score": null,
"sort": [
1725548417000
]
},
"guestAuthors": [],
"slug": "delights-a-story-of-hieronymus-bosch-graphic-novel-review-guy-colwell",
"title": "‘Delights: A Story of Hieronymus Bosch’ Explores the Struggles of a Conflicted Artist",
"publishDate": 1725548417,
"format": "aside",
"headTitle": "‘Delights: A Story of Hieronymus Bosch’ Explores the Struggles of a Conflicted Artist | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13963673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb.jpg\" alt=\"An illustration of a concerned looking man painting a landscape featuring naked people.\" width=\"2000\" height=\"1975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-1020x1007.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-1536x1517.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-1920x1896.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymus Bosch as drawn by Guy Colwell in his new graphic novel, ‘Delights.’\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy being tasked with painting a biblically inspired image so viscerally impactful that it forces humans to grapple with the consequences of sin. It’s also not easy capturing the story of the man who performed that task in the 15th century. That’s probably why the new graphic novel \u003ca href=\"https://www.fantagraphics.com/products/delights-a-story-of-hieronymus-bosch?srsltid=AfmBOorNI9XJs2guAwfqE3q1ymCJt8wvErdaZEBInJLevc5tRwqH4iq7\">\u003cem>Delights: A Story of Hieronymus Bosch\u003c/em>\u003c/a> took Berkeley-based author and artist Guy Colwell nine years to complete.\u003c/p>\n\u003cp>[aside postid='arts_13963406']The epic book depicts the Dutch painter in a labor of love (and obsession) as he creates his world-famous\u003cem> The Garden of Earthly Delights.\u003c/em> The triptych famously features a central image of humans in unrestrained commune with fantastic animals and a technicolor version of nature. To the left of that image is a reflection of a still-peaceful Eden. To the right is a depiction of a despondent, squalid hellscape very much in line with Bosch’s earlier, notoriously dark work.\u003c/p>\n\u003cp>How Bosch came to his final vision for \u003cem>The Garden\u003c/em> has been the subject of much speculation over the years. Colwell is clear in the graphic novel’s introduction that his version of events utilizes a combination of historical fact and conjecture.\u003c/p>\n\u003cp>“I looked at various suppositions, postulates and theories about \u003cem>Garden \u003c/em>and the artist,” Colwell writes\u003cem>,\u003c/em> “and decided I could boil down and twist around some of the most plausible and put them into the form of a fictional story that I hoped would provide delight to readers, as well as a glimpse of life in the 15th century.”\u003c/p>\n\u003cp>In the book, we see Bosch approached by two “lascivious lords” who commission a painting of “beauty and pleasure … with no shame or guilt.” Bosch quickly goes about sketching as many nude models as he can find and acquiring the aged oak panels on which he’ll paint. All the while, he works to keep his work hidden from the curious religious minds around him. Bosch, a man of faith himself, worries that \u003cem>The Garden\u003c/em> might put his afterlife in jeopardy and wrestles with what the final painting should look like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Delights\u003c/em> is at its best in the moments where Bosch’s imagination (and Colwell’s) is permitted to run wild. At one point, a walk in the woods turns into a paranoid nightmare where Bosch is pursued by monsters, devils and the many naked people from his painting. “I’ve had to dispute with myself whether my painting is really based on religion or an unholy act of frivolous perversion,” Bosch says to himself. “I live with a terror that for a few coins I will have to face an unhappy judgement.”\u003c/p>\n\u003cp>[aside postid='arts_13963133']A full analysis of the painting makes its way into \u003cem>Delights\u003c/em> as Bosch is forced to justify its existence to local churchmen. (Colwell says this sequence was inspired by the Spanish Inquisition’s examination of the painting when it was relocated to Spain.)\u003c/p>\n\u003cp>In the end, \u003cem>Delights\u003c/em> is a thought-provoking reminder of Bosch’s bold, curious and (in many ways) disturbing mind. Colwell has done a thorough job imagining what Bosch went through in the course of creating \u003cem>The Garden of Earthly Delights.\u003c/em> As we watch him wrestle with his demons, questioning his own moral compass at every step, it’s a reminder of the value of artists everywhere who are willing to challenge not just others, but themselves. That we’re still wondering about Bosch this many centuries later is a solid indication that it’s worth it.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Delights: A Story of Hieronymus Bosch’ by Guy Colwell is out now, via Fantagraphics.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Colwell will sign copies of the book at San Francisco’s 111 Minna Gallery on Sept. 7, 2024, between noon and 6 p.m.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Berkeley author Guy Colwell will sign copies of his new graphic novel on Sept. 7 at San Francisco’s 111 Minna gallery.",
"status": "publish",
"parent": 0,
"modified": 1726770868,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 667
},
"headData": {
"title": "Book Review: ‘Delights: A Story of Hieronymus Bosch’ | KQED",
"description": "Berkeley author Guy Colwell will sign copies of his new graphic novel on Sept. 7 at San Francisco’s 111 Minna gallery.",
"ogTitle": "‘Delights: A Story of Hieronymus Bosch’ Explores the Struggles of a Conflicted Artist",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Delights: A Story of Hieronymus Bosch’ Explores the Struggles of a Conflicted Artist",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Delights: A Story of Hieronymus Bosch’%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Delights: A Story of Hieronymus Bosch’ Explores the Struggles of a Conflicted Artist",
"datePublished": "2024-09-05T08:00:17-07:00",
"dateModified": "2024-09-19T11:34:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963277",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963277/delights-a-story-of-hieronymus-bosch-graphic-novel-review-guy-colwell",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb.jpg\" alt=\"An illustration of a concerned looking man painting a landscape featuring naked people.\" width=\"2000\" height=\"1975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-1020x1007.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-1536x1517.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hb-1920x1896.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymus Bosch as drawn by Guy Colwell in his new graphic novel, ‘Delights.’\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy being tasked with painting a biblically inspired image so viscerally impactful that it forces humans to grapple with the consequences of sin. It’s also not easy capturing the story of the man who performed that task in the 15th century. That’s probably why the new graphic novel \u003ca href=\"https://www.fantagraphics.com/products/delights-a-story-of-hieronymus-bosch?srsltid=AfmBOorNI9XJs2guAwfqE3q1ymCJt8wvErdaZEBInJLevc5tRwqH4iq7\">\u003cem>Delights: A Story of Hieronymus Bosch\u003c/em>\u003c/a> took Berkeley-based author and artist Guy Colwell nine years to complete.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963406",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The epic book depicts the Dutch painter in a labor of love (and obsession) as he creates his world-famous\u003cem> The Garden of Earthly Delights.\u003c/em> The triptych famously features a central image of humans in unrestrained commune with fantastic animals and a technicolor version of nature. To the left of that image is a reflection of a still-peaceful Eden. To the right is a depiction of a despondent, squalid hellscape very much in line with Bosch’s earlier, notoriously dark work.\u003c/p>\n\u003cp>How Bosch came to his final vision for \u003cem>The Garden\u003c/em> has been the subject of much speculation over the years. Colwell is clear in the graphic novel’s introduction that his version of events utilizes a combination of historical fact and conjecture.\u003c/p>\n\u003cp>“I looked at various suppositions, postulates and theories about \u003cem>Garden \u003c/em>and the artist,” Colwell writes\u003cem>,\u003c/em> “and decided I could boil down and twist around some of the most plausible and put them into the form of a fictional story that I hoped would provide delight to readers, as well as a glimpse of life in the 15th century.”\u003c/p>\n\u003cp>In the book, we see Bosch approached by two “lascivious lords” who commission a painting of “beauty and pleasure … with no shame or guilt.” Bosch quickly goes about sketching as many nude models as he can find and acquiring the aged oak panels on which he’ll paint. All the while, he works to keep his work hidden from the curious religious minds around him. Bosch, a man of faith himself, worries that \u003cem>The Garden\u003c/em> might put his afterlife in jeopardy and wrestles with what the final painting should look like.\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>Delights\u003c/em> is at its best in the moments where Bosch’s imagination (and Colwell’s) is permitted to run wild. At one point, a walk in the woods turns into a paranoid nightmare where Bosch is pursued by monsters, devils and the many naked people from his painting. “I’ve had to dispute with myself whether my painting is really based on religion or an unholy act of frivolous perversion,” Bosch says to himself. “I live with a terror that for a few coins I will have to face an unhappy judgement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963133",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A full analysis of the painting makes its way into \u003cem>Delights\u003c/em> as Bosch is forced to justify its existence to local churchmen. (Colwell says this sequence was inspired by the Spanish Inquisition’s examination of the painting when it was relocated to Spain.)\u003c/p>\n\u003cp>In the end, \u003cem>Delights\u003c/em> is a thought-provoking reminder of Bosch’s bold, curious and (in many ways) disturbing mind. Colwell has done a thorough job imagining what Bosch went through in the course of creating \u003cem>The Garden of Earthly Delights.\u003c/em> As we watch him wrestle with his demons, questioning his own moral compass at every step, it’s a reminder of the value of artists everywhere who are willing to challenge not just others, but themselves. That we’re still wondering about Bosch this many centuries later is a solid indication that it’s worth it.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Delights: A Story of Hieronymus Bosch’ by Guy Colwell is out now, via Fantagraphics.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Colwell will sign copies of the book at San Francisco’s 111 Minna Gallery on Sept. 7, 2024, between noon and 6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963277/delights-a-story-of-hieronymus-bosch-graphic-novel-review-guy-colwell",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_22101",
"arts_10629",
"arts_769",
"arts_585"
],
"featImg": "arts_13963670",
"label": "arts_140"
},
"arts_13963648": {
"type": "posts",
"id": "arts_13963648",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963648",
"score": null,
"sort": [
1725474667000
]
},
"guestAuthors": [],
"slug": "netflixs-tight-taut-and-tension-filled-rebel-ridge-is-a-first-rate-drama",
"title": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"publishDate": 1725474667,
"format": "standard",
"headTitle": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>Rebel Ridge\u003c/em> opens with a shot of a lanky, muscular stranger riding into a small, corrupt Southern town — a scene we’ve all seen plenty of times. Except this stranger isn’t in a truck or on a horse. He’s on a bicycle.\u003c/p>\n\u003cp>It’s one of many ways that writer-director Jeremy Saulnier both honors and has fun with movie conventions on his way to making clearly one of the best things on Netflix.\u003c/p>\n\u003cp>[aside postid='arts_13963389']The tight, taut and tension-filled \u003cem>Rebel Ridge\u003c/em> is the story of a former Marine who arrives in Shelby Springs, Louisiana, to post his cousin’s bond and gets sucked into taking on its shady law enforcement department.\u003c/p>\n\u003cp>The last time a relative came to help his cousin from the clutches of less-than-ideal small town Southern legal system it was a comedy with Joe Pesci and a hero named Vinny. If you ever needed a hint that this isn’t that movie, the opening sequence is scored to Iron Maiden.\u003c/p>\n\u003cp>The movie stars Aaron Pierre as our former Marine, Terry Richmond, a man with mad martial arts and survival skills (he catches fish with his bare hands), and, on the opposite side, Don Johnson as the courtly but deadly chief of police, as venal as Richmond is noble. Both seem absolutely to adore their gun-slinging, testosterone-filled roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saulnier — who dealt with frontier justice and lawlessness in his previous \u003cem>Blue Ruin\u003c/em> and \u003cem>Green Room\u003c/em> — has given this action-thriller loads of social context: racism, opioid addiction, the cash bail system, small-town funding and militarized cops.\u003c/p>\n\u003cp>Like its leading man, \u003cem>Rebel Ridge\u003c/em> is a lean, muscular movie with few over-the-top special effects, save for Pierre’s spectacular eyes. It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gF3gZicntIw\u003c/p>\n\u003cp>The script is spare — allowing for some homespun poetry like “You know the thing about a pissing contest? Everybody gets piss on their boots” — and without an ounce of fat. So if a bottle of coconut water is brought up in one scene, it’s going be used in another. There are interesting camera angles, like the backseat of a speeding car or a tense cell phone call inside an old-fashioned phone booth.\u003c/p>\n\u003cp>There’s also great use of dramatic underscoring by Brooke and Will Blair, who build discordant waves that grow slack, only to reappear like a shark. The score — including “Wayfaring Stranger” by Neko Case or “Right Brigade” by Bad Brains — are heard only on car radios or headphones or playing in restaurants. Distant thunder sounds often.\u003c/p>\n\u003cp>[aside postid='arts_13963339']Our ex-Marine — described by one officer as “unarmed but considered dangerous” — forges an unlikely ally in a court clerk, played winningly by AnnaSophia Robb, and there’s a plumb role for James Cromwell, too.\u003c/p>\n\u003cp>\u003cem>Rebel Ridge\u003c/em> has whiffs of all kinds of other movies, from \u003cem>First Blood\u003c/em> to spaghetti Westerns, while the script even humanizes the bad guys — “Just because you was right doesn’t make us wrong,” the chief says to our hero.\u003c/p>\n\u003cp>There’s a conspiracy at the heart of the town and you likely won’t be able to turn off the movie before finding out if one well-trained stranger can save the day, as things gloriously escalate. “It’s gotten out of hand. Real soup sandwich,” says our hero. That’s not what ended up on your TV screen, though — it’s the very opposite of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rebel Ridge’ begins streaming on Netflix on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A former Marine takes on shady small town law enforcement in Jeremy Saulnier's gripping new movie.",
"status": "publish",
"parent": 0,
"modified": 1725474667,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 659
},
"headData": {
"title": "‘Rebel Ridge’ Is the Best New Movie on Netflix | KQED",
"description": "A former Marine takes on shady small town law enforcement in Jeremy Saulnier's gripping new movie.",
"ogTitle": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Rebel Ridge’ Is the Best New Movie on Netflix%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Netflix’s Tight, Taut and Tension-Filled ‘Rebel Ridge’ Is a First-Rate Drama",
"datePublished": "2024-09-04T11:31:07-07:00",
"dateModified": "2024-09-04T11:31:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13963648",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13963648/netflixs-tight-taut-and-tension-filled-rebel-ridge-is-a-first-rate-drama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Rebel Ridge\u003c/em> opens with a shot of a lanky, muscular stranger riding into a small, corrupt Southern town — a scene we’ve all seen plenty of times. Except this stranger isn’t in a truck or on a horse. He’s on a bicycle.\u003c/p>\n\u003cp>It’s one of many ways that writer-director Jeremy Saulnier both honors and has fun with movie conventions on his way to making clearly one of the best things on Netflix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963389",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The tight, taut and tension-filled \u003cem>Rebel Ridge\u003c/em> is the story of a former Marine who arrives in Shelby Springs, Louisiana, to post his cousin’s bond and gets sucked into taking on its shady law enforcement department.\u003c/p>\n\u003cp>The last time a relative came to help his cousin from the clutches of less-than-ideal small town Southern legal system it was a comedy with Joe Pesci and a hero named Vinny. If you ever needed a hint that this isn’t that movie, the opening sequence is scored to Iron Maiden.\u003c/p>\n\u003cp>The movie stars Aaron Pierre as our former Marine, Terry Richmond, a man with mad martial arts and survival skills (he catches fish with his bare hands), and, on the opposite side, Don Johnson as the courtly but deadly chief of police, as venal as Richmond is noble. Both seem absolutely to adore their gun-slinging, testosterone-filled roles.\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>Saulnier — who dealt with frontier justice and lawlessness in his previous \u003cem>Blue Ruin\u003c/em> and \u003cem>Green Room\u003c/em> — has given this action-thriller loads of social context: racism, opioid addiction, the cash bail system, small-town funding and militarized cops.\u003c/p>\n\u003cp>Like its leading man, \u003cem>Rebel Ridge\u003c/em> is a lean, muscular movie with few over-the-top special effects, save for Pierre’s spectacular eyes. It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.\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/gF3gZicntIw'\n title='//www.youtube.com/embed/gF3gZicntIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The script is spare — allowing for some homespun poetry like “You know the thing about a pissing contest? Everybody gets piss on their boots” — and without an ounce of fat. So if a bottle of coconut water is brought up in one scene, it’s going be used in another. There are interesting camera angles, like the backseat of a speeding car or a tense cell phone call inside an old-fashioned phone booth.\u003c/p>\n\u003cp>There’s also great use of dramatic underscoring by Brooke and Will Blair, who build discordant waves that grow slack, only to reappear like a shark. The score — including “Wayfaring Stranger” by Neko Case or “Right Brigade” by Bad Brains — are heard only on car radios or headphones or playing in restaurants. Distant thunder sounds often.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963339",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Our ex-Marine — described by one officer as “unarmed but considered dangerous” — forges an unlikely ally in a court clerk, played winningly by AnnaSophia Robb, and there’s a plumb role for James Cromwell, too.\u003c/p>\n\u003cp>\u003cem>Rebel Ridge\u003c/em> has whiffs of all kinds of other movies, from \u003cem>First Blood\u003c/em> to spaghetti Westerns, while the script even humanizes the bad guys — “Just because you was right doesn’t make us wrong,” the chief says to our hero.\u003c/p>\n\u003cp>There’s a conspiracy at the heart of the town and you likely won’t be able to turn off the movie before finding out if one well-trained stranger can save the day, as things gloriously escalate. “It’s gotten out of hand. Real soup sandwich,” says our hero. That’s not what ended up on your TV screen, though — it’s the very opposite of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rebel Ridge’ begins streaming on Netflix on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963648/netflixs-tight-taut-and-tension-filled-rebel-ridge-is-a-first-rate-drama",
"authors": [
"byline_arts_13963648"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_15246",
"arts_3324",
"arts_769",
"arts_585"
],
"featImg": "arts_13963655",
"label": "arts_140"
},
"arts_13963630": {
"type": "posts",
"id": "arts_13963630",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963630",
"score": null,
"sort": [
1725470525000
]
},
"guestAuthors": [],
"slug": "sarah-cain-quiet-riot-anthony-meier-mill-valley-review",
"title": "Sarah Cain’s ‘Quiet Riot’ Covers a Mill Valley Gallery in Curves of Color",
"publishDate": 1725470525,
"format": "standard",
"headTitle": "Sarah Cain’s ‘Quiet Riot’ Covers a Mill Valley Gallery in Curves of Color | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Mill Valley is not a typical destination for contemporary art, but neither does it seem like a totally unexpected place to find a gallery. Maybe it all depends on where you’re coming from. For locals, it makes perfect sense to stop by \u003ca href=\"https://www.anthonymeier.com/\">Anthony Meier\u003c/a>’s gallery on the leafy, pedestrian-friendly block of Throckmorton Avenue. For those of us coming from elsewhere, the spare white storefront currently filled with rainbow-hued art offers a narrow jolt of visual excitement against a backdrop of weathered wooden shingles and brick facades.\u003c/p>\n\u003cp>Sarah Cain’s show, which includes paintings on canvas, embellished dollar bills and a gallery floor covered in rivers of color, is in no way subtle (the Los Angeles artist regularly deploys fluorescent hues, glitter and beads). But neither is the grouping so discordant as to make one want to shy away. The work, as the show’s title suggests, is riotous, but quietly so: a \u003ci>\u003ca href=\"https://www.anthonymeier.com/exhibitions/sarah-cain-quiet-riot#tab:slideshow;tab-1:thumbnails\">Quiet Riot\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>In one of the gallery’s street-facing windows, Cain first slows eastbound foot traffic with a canvas suspended by wires; \u003ci>Hello there\u003c/i> is a floral burst of curlicues on a lavender ground. That leads to the gallery entrance, where visitors are met by another window display: dangling, gently twisting strips of vertical paper, each decorated with its own set of wavy rays, concentric rectangles, zig-zags and triangles. \u003c/p>\n\u003cfigure id=\"attachment_13963643\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2.jpg\" alt=\"embellished dollar bills hang behind large glass storefont\" width=\"1527\" height=\"1145\" class=\"size-full wp-image-13963643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-768x576.jpg 768w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sarah Cain’s ‘$ talisman’ pieces in gallery window. \u003ccite>(Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are dollar bills, all titled \u003ci>$ talisman\u003c/i>, all with a small element of the original currency peeking through. It’s usually a tiny eye (either George’s or the Eye of Providence), surrounded by Cain’s otherwise opaque brushstrokes of buoyant color. Silver or gold leaf gives a hint to the material’s original function. Cain started making these talismans during the 2008 economic downturn as gifts for friends and family, lucky charms that might bring about a financial reversal. Transmuted into art, they have certainly become much more valuable.\u003c/p>\n\u003cp>Cain has one other piece in the show that uses existing printed material as its starting point: \u003ci>Effortless Action\u003c/i>, an acrylic and gouache work on found sheet music. She responds to the page’s graphic elements in some places, then completely obliterates the underlying information in others. The result is a visual rendering of the experience of playing or listening to particularly transportative music — a liquid light show captured and put down in paint.\u003c/p>\n\u003cfigure id=\"attachment_13963645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000.jpg\" alt=\"framed abstract colorful painting on yellowed paper\" width=\"2000\" height=\"2438\" class=\"size-full wp-image-13963645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-800x975.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1020x1243.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-768x936.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1260x1536.jpg 1260w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1680x2048.jpg 1680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1920x2340.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Cain, ‘Effortless Action,’ 2024. \u003ccite>(Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With that musical reference, I feel like I have to mention the other Quiet Riot, the 1970s metal band (also from Los Angeles) that played songs like “\u003ca href=\"https://youtu.be/ZxgMGk9JPVA?feature=shared\">Cum on Feel the Noize\u003c/a>” and “\u003ca href=\"https://youtu.be/O_1ruZWJigo?feature=shared\">Metal Health (Bang Your Head)\u003c/a>.” While there’s certainly glam elements to Cain’s work — the sparkle, boisterous colors and iridescence — metal doesn’t feel like the appropriate soundtrack to this decidedly cheerful installation. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet there is a sense of movement. It’s not a herky-jerky headbang but something more free-flowing, perhaps choreographed by Anna Halprin or Yvonne Rainer. The painting \u003ci>olympic gold\u003c/i> is full of bends and flips. \u003ci>Ascending\u003c/i>, a diptych that brings to mind a more effusive Etal Adnan, finds itself reflected in the S-curves of the massive floor painting. Even the show’s smallest canvas, the appropriately titled \u003ci>baby, baby, baby\u003c/i>, seems ready to burst apart, a tightly packed rectangle of colorful trapezoids and mismatched beads. \u003c/p>\n\u003cfigure id=\"attachment_13963646\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5.jpg\" alt=\"gallery with large abstract painting flanked by two smaller works and painted floor\" width=\"1527\" height=\"1145\" class=\"size-full wp-image-13963646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-768x576.jpg 768w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Quiet Riot’ with ‘Ascending’ at center and ‘baby, baby, baby’ at right. \u003ccite>(Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a show that can be taken in piece by piece, but I prefer the panoramic view: of decorated dollar bills glinting in the sun; of languid arcs of soft, pink ribbon hanging from the show’s titular, pastel-hued work; of the geologic flow of paint rendered like strata across the gallery floor. \u003c/p>\n\u003cp>Passing through the \u003ca href=\"https://www.kqed.org/news/11629112/why-are-there-rainbows-on-the-tunnel-between-s-f-and-marin-plus-bonus-anniversary-questions\">rainbow tunnel\u003c/a> on my way north to Mill Valley, I should have known that arc of color and light would guide me to a show that both blends in and clashes with its immediate surroundings. So do the best visual moments. Returning southward through the tunnel, the Golden Gate Bridge popped into view and, like it always does, momentarily took my breath away. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Quiet Riot’ is on view at Anthony Meier (21 Throckmorton Ave., Mill Valley) through Oct. 11.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The show at Anthony Meier is a jolt of visual excitement in a neighborhood of weathered wooden shingles.",
"status": "publish",
"parent": 0,
"modified": 1725470525,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 792
},
"headData": {
"title": "‘Quiet Riot’ at Anthony Meier: Sarah Cain’s Curves of Color | KQED",
"description": "The show at Anthony Meier is a jolt of visual excitement in a neighborhood of weathered wooden shingles.",
"ogTitle": "Sarah Cain’s ‘Quiet Riot’ Covers a Mill Valley Gallery in Curves of Color",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Sarah Cain’s ‘Quiet Riot’ Covers a Mill Valley Gallery in Curves of Color",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Quiet Riot’ at Anthony Meier: Sarah Cain’s Curves of Color %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sarah Cain’s ‘Quiet Riot’ Covers a Mill Valley Gallery in Curves of Color",
"datePublished": "2024-09-04T10:22:05-07:00",
"dateModified": "2024-09-04T10:22:05-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963630",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963630/sarah-cain-quiet-riot-anthony-meier-mill-valley-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mill Valley is not a typical destination for contemporary art, but neither does it seem like a totally unexpected place to find a gallery. Maybe it all depends on where you’re coming from. For locals, it makes perfect sense to stop by \u003ca href=\"https://www.anthonymeier.com/\">Anthony Meier\u003c/a>’s gallery on the leafy, pedestrian-friendly block of Throckmorton Avenue. For those of us coming from elsewhere, the spare white storefront currently filled with rainbow-hued art offers a narrow jolt of visual excitement against a backdrop of weathered wooden shingles and brick facades.\u003c/p>\n\u003cp>Sarah Cain’s show, which includes paintings on canvas, embellished dollar bills and a gallery floor covered in rivers of color, is in no way subtle (the Los Angeles artist regularly deploys fluorescent hues, glitter and beads). But neither is the grouping so discordant as to make one want to shy away. The work, as the show’s title suggests, is riotous, but quietly so: a \u003ci>\u003ca href=\"https://www.anthonymeier.com/exhibitions/sarah-cain-quiet-riot#tab:slideshow;tab-1:thumbnails\">Quiet Riot\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>In one of the gallery’s street-facing windows, Cain first slows eastbound foot traffic with a canvas suspended by wires; \u003ci>Hello there\u003c/i> is a floral burst of curlicues on a lavender ground. That leads to the gallery entrance, where visitors are met by another window display: dangling, gently twisting strips of vertical paper, each decorated with its own set of wavy rays, concentric rectangles, zig-zags and triangles. \u003c/p>\n\u003cfigure id=\"attachment_13963643\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2.jpg\" alt=\"embellished dollar bills hang behind large glass storefont\" width=\"1527\" height=\"1145\" class=\"size-full wp-image-13963643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-2-768x576.jpg 768w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sarah Cain’s ‘$ talisman’ pieces in gallery window. \u003ccite>(Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are dollar bills, all titled \u003ci>$ talisman\u003c/i>, all with a small element of the original currency peeking through. It’s usually a tiny eye (either George’s or the Eye of Providence), surrounded by Cain’s otherwise opaque brushstrokes of buoyant color. Silver or gold leaf gives a hint to the material’s original function. Cain started making these talismans during the 2008 economic downturn as gifts for friends and family, lucky charms that might bring about a financial reversal. Transmuted into art, they have certainly become much more valuable.\u003c/p>\n\u003cp>Cain has one other piece in the show that uses existing printed material as its starting point: \u003ci>Effortless Action\u003c/i>, an acrylic and gouache work on found sheet music. She responds to the page’s graphic elements in some places, then completely obliterates the underlying information in others. The result is a visual rendering of the experience of playing or listening to particularly transportative music — a liquid light show captured and put down in paint.\u003c/p>\n\u003cfigure id=\"attachment_13963645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000.jpg\" alt=\"framed abstract colorful painting on yellowed paper\" width=\"2000\" height=\"2438\" class=\"size-full wp-image-13963645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-800x975.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1020x1243.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-768x936.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1260x1536.jpg 1260w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1680x2048.jpg 1680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CAIN366_Cain-Effortless-Action-2024_2000-1920x2340.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Cain, ‘Effortless Action,’ 2024. \u003ccite>(Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With that musical reference, I feel like I have to mention the other Quiet Riot, the 1970s metal band (also from Los Angeles) that played songs like “\u003ca href=\"https://youtu.be/ZxgMGk9JPVA?feature=shared\">Cum on Feel the Noize\u003c/a>” and “\u003ca href=\"https://youtu.be/O_1ruZWJigo?feature=shared\">Metal Health (Bang Your Head)\u003c/a>.” While there’s certainly glam elements to Cain’s work — the sparkle, boisterous colors and iridescence — metal doesn’t feel like the appropriate soundtrack to this decidedly cheerful installation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet there is a sense of movement. It’s not a herky-jerky headbang but something more free-flowing, perhaps choreographed by Anna Halprin or Yvonne Rainer. The painting \u003ci>olympic gold\u003c/i> is full of bends and flips. \u003ci>Ascending\u003c/i>, a diptych that brings to mind a more effusive Etal Adnan, finds itself reflected in the S-curves of the massive floor painting. Even the show’s smallest canvas, the appropriately titled \u003ci>baby, baby, baby\u003c/i>, seems ready to burst apart, a tightly packed rectangle of colorful trapezoids and mismatched beads. \u003c/p>\n\u003cfigure id=\"attachment_13963646\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5.jpg\" alt=\"gallery with large abstract painting flanked by two smaller works and painted floor\" width=\"1527\" height=\"1145\" class=\"size-full wp-image-13963646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Cain_Quiet_Riot_installation_image_2024_view-5-768x576.jpg 768w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Quiet Riot’ with ‘Ascending’ at center and ‘baby, baby, baby’ at right. \u003ccite>(Courtesy of the artist and Anthony Meier, Mill Valley; Photo by Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a show that can be taken in piece by piece, but I prefer the panoramic view: of decorated dollar bills glinting in the sun; of languid arcs of soft, pink ribbon hanging from the show’s titular, pastel-hued work; of the geologic flow of paint rendered like strata across the gallery floor. \u003c/p>\n\u003cp>Passing through the \u003ca href=\"https://www.kqed.org/news/11629112/why-are-there-rainbows-on-the-tunnel-between-s-f-and-marin-plus-bonus-anniversary-questions\">rainbow tunnel\u003c/a> on my way north to Mill Valley, I should have known that arc of color and light would guide me to a show that both blends in and clashes with its immediate surroundings. So do the best visual moments. Returning southward through the tunnel, the Golden Gate Bridge popped into view and, like it always does, momentarily took my breath away. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Quiet Riot’ is on view at Anthony Meier (21 Throckmorton Ave., Mill Valley) through Oct. 11.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963630/sarah-cain-quiet-riot-anthony-meier-mill-valley-review",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10278",
"arts_769",
"arts_585"
],
"featImg": "arts_13963641",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=review": {
"isFetching": false,
"latestQuery": {
"from": 300,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_13964075",
"arts_13963960",
"arts_13963967",
"arts_13963867",
"arts_13963817",
"arts_13963803",
"arts_13963775",
"arts_13963688",
"arts_13963695",
"arts_13963277",
"arts_13963648",
"arts_13963630"
],
"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_review": {
"isLoading": true
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"source_arts_13963867": {
"type": "terms",
"id": "source_arts_13963867",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"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_1787": {
"type": "terms",
"id": "arts_1787",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1787",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Contemporary Jewish Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Contemporary Jewish Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1799,
"slug": "contemporary-jewish-museum",
"isLoading": false,
"link": "/arts/tag/contemporary-jewish-museum"
},
"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_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"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_22281": {
"type": "terms",
"id": "arts_22281",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22281",
"found": true
},
"relationships": {
"ogImgId": {
"data": {
"type": "attachments",
"id": "arts_13963291"
}
},
"twImgId": {
"data": {
"type": "attachments",
"id": "arts_13963291"
}
}
},
"name": "Fall Guide 2024",
"slug": "fall-guide-2024",
"taxonomy": "tag",
"description": "Your guide to the best concerts, exhibits, plays and movies in the Bay Area this fall.",
"featImg": null,
"headData": {
"title": "Fall Guide 2024 | KQED Arts",
"description": "Your guide to the best concerts, exhibits, plays and movies in the Bay Area this fall.",
"ogTitle": null,
"ogDescription": null,
"ogImgId": "arts_13963291",
"twTitle": null,
"twDescription": null,
"twImgId": "arts_13963291"
},
"ttid": 22293,
"isLoading": false,
"link": "/arts/tag/fall-guide-2024"
},
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_22013": {
"type": "terms",
"id": "arts_22013",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22013",
"found": true
},
"relationships": {},
"featImg": null,
"name": "anime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "anime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22025,
"slug": "anime",
"isLoading": false,
"link": "/arts/tag/anime"
},
"arts_4058": {
"type": "terms",
"id": "arts_4058",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4058",
"found": true
},
"relationships": {},
"featImg": null,
"name": "davies symphony hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "davies symphony hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4070,
"slug": "davies-symphony-hall",
"isLoading": false,
"link": "/arts/tag/davies-symphony-hall"
},
"arts_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_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_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_21862": {
"type": "terms",
"id": "arts_21862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Technology",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Technology Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21874,
"slug": "technology",
"isLoading": false,
"link": "/arts/interest/technology"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_22296": {
"type": "terms",
"id": "arts_22296",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22296",
"found": true
},
"relationships": {},
"name": "nonfiction",
"slug": "nonfiction",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "nonfiction | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22308,
"isLoading": false,
"link": "/arts/tag/nonfiction"
},
"arts_3650": {
"type": "terms",
"id": "arts_3650",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3650",
"found": true
},
"relationships": {},
"featImg": null,
"name": "race",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "race Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3662,
"slug": "race",
"isLoading": false,
"link": "/arts/tag/race"
},
"arts_22101": {
"type": "terms",
"id": "arts_22101",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22101",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Event",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Event Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22113,
"slug": "event",
"isLoading": false,
"link": "/arts/tag/event"
},
"arts_10629": {
"type": "terms",
"id": "arts_10629",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10629",
"found": true
},
"relationships": {},
"name": "Graphic Novels",
"slug": "graphic-novels",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Graphic Novels | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 10641,
"isLoading": false,
"link": "/arts/tag/graphic-novels"
},
"arts_15246": {
"type": "terms",
"id": "arts_15246",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15246",
"found": true
},
"relationships": {},
"featImg": null,
"name": "action",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "action Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15258,
"slug": "action",
"isLoading": false,
"link": "/arts/tag/action"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_21873": {
"type": "terms",
"id": "arts_21873",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21873",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21885,
"slug": "north-bay",
"isLoading": false,
"link": "/arts/interest/north-bay"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}