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_13959835": {
"type": "attachments",
"id": "arts_13959835",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959835",
"found": true
},
"title": "TREASURE-Key-Still-",
"publishDate": 1718323126,
"status": "inherit",
"parent": 13959801,
"modified": 1718323221,
"caption": "Stephen Fry and Lena Dunham in 'Treasure.'",
"credit": "Bleecker Street and FilmNation",
"altTag": "A tall man in a beard and a shorter woman in a large coat look at each other with a knowing look.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--800x480.jpg",
"width": 800,
"height": 480,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--1020x612.jpg",
"width": 1020,
"height": 612,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--160x96.jpg",
"width": 160,
"height": 96,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--768x461.jpg",
"width": 768,
"height": 461,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--1536x922.jpg",
"width": 1536,
"height": 922,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still--1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Key-Still-.jpg",
"width": 1920,
"height": 1152
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959783": {
"type": "attachments",
"id": "arts_13959783",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959783",
"found": true
},
"title": "‘Consent: A Memoir’ by Jill Ciment.",
"publishDate": 1718306319,
"status": "inherit",
"parent": 13959775,
"modified": 1718306430,
"caption": "‘Consent: A Memoir’ by Jill Ciment.",
"credit": "Pantheon",
"altTag": "A book cover featuring a close up painting of a middle aged woman's face.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-13-at-12.18.08-PM-800x1104.png",
"width": 800,
"height": 1104,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-13-at-12.18.08-PM-160x221.png",
"width": 160,
"height": 221,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-13-at-12.18.08-PM-768x1059.png",
"width": 768,
"height": 1059,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-13-at-12.18.08-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-13-at-12.18.08-PM-880x576.png",
"width": 880,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-13-at-12.18.08-PM.png",
"width": 880,
"height": 1214
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959721": {
"type": "attachments",
"id": "arts_13959721",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959721",
"found": true
},
"title": "‘Horror Movie: A Novel’ by Paul Tremblay.",
"publishDate": 1718228134,
"status": "inherit",
"parent": 13959693,
"modified": 1718228175,
"caption": "‘Horror Movie: A Novel’ by Paul Tremblay.",
"credit": "William Morrow",
"altTag": "A book cover depicting a smashed VHS tape against a black background.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.21.00-PM-800x438.png",
"width": 800,
"height": 438,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.21.00-PM-160x88.png",
"width": 160,
"height": 88,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.21.00-PM-768x421.png",
"width": 768,
"height": 421,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.21.00-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.21.00-PM.png",
"width": 836,
"height": 458
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959672": {
"type": "attachments",
"id": "arts_13959672",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959672",
"found": true
},
"title": "Julia Louis-Dreyfus in a scene from ‘Tuesday.’",
"publishDate": 1718217005,
"status": "inherit",
"parent": 13959670,
"modified": 1718217065,
"caption": "Julia Louis-Dreyfus in a scene from ‘Tuesday.’",
"credit": "Kevin Baker/A24 via AP",
"altTag": "A woman with a worn expression stands in a tree-lined field, looking into the distance.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-800x465.png",
"width": 800,
"height": 465,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-1020x593.png",
"width": 1020,
"height": 593,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-160x93.png",
"width": 160,
"height": 93,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-768x447.png",
"width": 768,
"height": 447,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-1536x894.png",
"width": 1536,
"height": 894,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-11.29.03-AM.png",
"width": 1664,
"height": 968
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959636": {
"type": "attachments",
"id": "arts_13959636",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959636",
"found": true
},
"title": "In the episode ‘From Virgin to Vixen,’ Queenie is in peak fun mode — until her demons begin to catch up with her.",
"publishDate": 1718147166,
"status": "inherit",
"parent": 13959635,
"modified": 1718147436,
"caption": "In the episode ‘From Virgin to Vixen,’ Queenie is in peak fun mode — until her demons begin to catch up with her.",
"credit": "Lionsgate/Latoya Okuneye",
"altTag": "A Black woman dressed as a Playboy bunny talks to a man dressed as Hugh Hefner, at a sparsely populated party.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-800x533.jpeg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1020x680.jpeg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-160x107.jpeg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-768x512.jpeg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1536x1024.jpeg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-2048x1365.jpeg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-1920x1280.jpeg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/171036-img-6079-v1-scaled-e1718147321594.jpeg",
"width": 1920,
"height": 1280
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959629": {
"type": "attachments",
"id": "arts_13959629",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959629",
"found": true
},
"title": "Isis Rodriguez — the self-described \"Zapatista Stripper\" — in 1998.",
"publishDate": 1718145594,
"status": "inherit",
"parent": 13959375,
"modified": 1718145625,
"caption": "Isis Rodriguez — the self-described \"Zapatista Stripper\" — in 1998.",
"credit": "Eugenio Castro/Courtesy of the GLBT Historical Museum",
"altTag": "A woman wearing a ski mask and a bikini kneels of the floor, one fist raised in defiance.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-2.39.25-PM-800x457.png",
"width": 800,
"height": 457,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-2.39.25-PM-160x91.png",
"width": 160,
"height": 91,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-2.39.25-PM-768x439.png",
"width": 768,
"height": 439,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-2.39.25-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-2.39.25-PM.png",
"width": 976,
"height": 558
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959604": {
"type": "attachments",
"id": "arts_13959604",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959604",
"found": true
},
"title": "Demi Moore and Andrew McCarthy in a scene from new documentary, ‘Brats.’",
"publishDate": 1718129807,
"status": "inherit",
"parent": 13959601,
"modified": 1718129998,
"caption": "Demi Moore and Andrew McCarthy in a scene from new documentary, ‘Brats.’",
"credit": "ABC News Studios via AP",
"altTag": "A woman and man sit together on a porch staring at the screen of an iPad, visibly amused.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-800x487.png",
"width": 800,
"height": 487,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-1020x621.png",
"width": 1020,
"height": 621,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-160x97.png",
"width": 160,
"height": 97,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-768x467.png",
"width": 768,
"height": 467,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-1536x935.png",
"width": 1536,
"height": 935,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.15.47-AM.png",
"width": 1906,
"height": 1160
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959534": {
"type": "attachments",
"id": "arts_13959534",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959534",
"found": true
},
"title": "‘The Vixen Amber Halloway’ by Carol LaHines.",
"publishDate": 1718054572,
"status": "inherit",
"parent": 13959530,
"modified": 1718054604,
"caption": "‘The Vixen Amber Halloway’ by Carol LaHines.",
"credit": "Regal House Publishing",
"altTag": "A book cover depicting a photo of an attractive woman's face behind shattered glass.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.22.36-PM-800x512.png",
"width": 800,
"height": 512,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.22.36-PM-160x102.png",
"width": 160,
"height": 102,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.22.36-PM-768x491.png",
"width": 768,
"height": 491,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.22.36-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.22.36-PM.png",
"width": 844,
"height": 540
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959519": {
"type": "attachments",
"id": "arts_13959519",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959519",
"found": true
},
"title": "Max Brod (left), a recognized writer at the time, relentlessly promoted the writings of his friend, Franz Kafka, played here respectively by David Kross and Joel Basman in the Austrian-German series ‘Kafka,’ now streaming in the U.S.",
"publishDate": 1718049083,
"status": "inherit",
"parent": 13959515,
"modified": 1718049201,
"caption": "Max Brod (left), a recognized writer at the time, relentlessly promoted the writings of his friend, Franz Kafka, played here respectively by David Kross and Joel Basman in the Austrian-German series ‘Kafka,’ now streaming in the U.S.",
"credit": "ORF/Superfilm/Nicole Albiez/Superfilm",
"altTag": "A man stands next to the desk of another man in turn of the century Europe.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-800x472.png",
"width": 800,
"height": 472,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-1020x602.png",
"width": 1020,
"height": 602,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-160x94.png",
"width": 160,
"height": 94,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-768x453.png",
"width": 768,
"height": 453,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.49.31-PM.png",
"width": 1294,
"height": 764
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959461": {
"type": "attachments",
"id": "arts_13959461",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959461",
"found": true
},
"title": "Fashion designer Karl Lagerfeld (Daniel Brühl), left, meets and falls in love with Jacques de Bascher (Théodore Pellerin) in ‘Becoming Karl Lagerfeld.’",
"publishDate": 1717781607,
"status": "inherit",
"parent": 13959459,
"modified": 1717781720,
"caption": "Fashion designer Karl Lagerfeld (Daniel Brühl), left, meets and falls in love with Jacques de Bascher (Théodore Pellerin) in ‘Becoming Karl Lagerfeld.’",
"credit": "Caroline Dubois, Jour Premier/Disney",
"altTag": "Two men stand with their bodies close together in front of a clothes rack. They are both looking towards the camera.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-800x505.png",
"width": 800,
"height": 505,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-1020x644.png",
"width": 1020,
"height": 644,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-160x101.png",
"width": 160,
"height": 101,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-768x485.png",
"width": 768,
"height": 485,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-1536x970.png",
"width": 1536,
"height": 970,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-07-at-10.33.08-AM.png",
"width": 1596,
"height": 1008
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959455": {
"type": "attachments",
"id": "arts_13959455",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959455",
"found": true
},
"title": "2024_05_30_CK6014_2000",
"publishDate": 1717780015,
"status": "inherit",
"parent": 13959443,
"modified": 1717780192,
"caption": "Installation view of 'Fantastico!' at Casemore Gallery, San Francisco",
"credit": "Chris Grunder/Casemore Gallery",
"altTag": "White-walled space with hanging text piece over desk, video tower, sculpture and wall work",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-800x600.jpg",
"width": 800,
"height": 600,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-1020x765.jpg",
"width": 1020,
"height": 765,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-160x120.jpg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-768x576.jpg",
"width": 768,
"height": 576,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-1536x1152.jpg",
"width": 1536,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000-1920x1440.jpg",
"width": 1920,
"height": 1440,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK6014_2000.jpg",
"width": 2000,
"height": 1500
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959417": {
"type": "attachments",
"id": "arts_13959417",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959417",
"found": true
},
"title": "‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff.",
"publishDate": 1717710639,
"status": "inherit",
"parent": 13959414,
"modified": 1717710788,
"caption": "‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff.",
"credit": "Blackstone",
"altTag": "A book cover showing soldiers crowded into the back of a boat during World War II.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-800x1097.png",
"width": 800,
"height": 1097,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-160x219.png",
"width": 160,
"height": 219,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-768x1053.png",
"width": 768,
"height": 1053,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-884x576.png",
"width": 884,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png",
"width": 884,
"height": 1212
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13959775": {
"type": "authors",
"id": "byline_arts_13959775",
"meta": {
"override": true
},
"slug": "byline_arts_13959775",
"name": "Heller McAlpin, NPR",
"isLoading": false
},
"byline_arts_13959693": {
"type": "authors",
"id": "byline_arts_13959693",
"meta": {
"override": true
},
"slug": "byline_arts_13959693",
"name": "Gabino Iglesias",
"isLoading": false
},
"byline_arts_13959670": {
"type": "authors",
"id": "byline_arts_13959670",
"meta": {
"override": true
},
"slug": "byline_arts_13959670",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13959635": {
"type": "authors",
"id": "byline_arts_13959635",
"meta": {
"override": true
},
"slug": "byline_arts_13959635",
"name": "Carole V. Bell",
"isLoading": false
},
"byline_arts_13959601": {
"type": "authors",
"id": "byline_arts_13959601",
"meta": {
"override": true
},
"slug": "byline_arts_13959601",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13959530": {
"type": "authors",
"id": "byline_arts_13959530",
"meta": {
"override": true
},
"slug": "byline_arts_13959530",
"name": "Bruce DeSilva, Associated Press",
"isLoading": false
},
"byline_arts_13959515": {
"type": "authors",
"id": "byline_arts_13959515",
"meta": {
"override": true
},
"slug": "byline_arts_13959515",
"name": "Olivia Hampton",
"isLoading": false
},
"byline_arts_13959459": {
"type": "authors",
"id": "byline_arts_13959459",
"meta": {
"override": true
},
"slug": "byline_arts_13959459",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13959414": {
"type": "authors",
"id": "byline_arts_13959414",
"meta": {
"override": true
},
"slug": "byline_arts_13959414",
"name": "Andrew DeMillo, Associated Press",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"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"
},
"mblue": {
"type": "authors",
"id": "11917",
"meta": {
"index": "authors_1716337520",
"id": "11917",
"found": true
},
"name": "Max Blue",
"firstName": "Max",
"lastName": "Blue",
"slug": "mblue",
"email": "maxbluewriter@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Max Blue has contributed art criticism and reporting to Artsy, Cultured and Hyperallergic, among others. His short fiction has appeared in The MacGuffin and North Dakota Quarterly, among others. He lives in San Francisco.",
"avatar": "https://secure.gravatar.com/avatar/cf3bc08316ae54aaf34b606edc5721301b3306703234df5bee49a54e69d29843?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "maxblueofficial",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Max Blue | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/cf3bc08316ae54aaf34b606edc5721301b3306703234df5bee49a54e69d29843?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/cf3bc08316ae54aaf34b606edc5721301b3306703234df5bee49a54e69d29843?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mblue"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307773
},
"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": 33
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 33
}
},
{
"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_13959801": {
"type": "posts",
"id": "arts_13959801",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959801",
"score": null,
"sort": [
1718323793000
]
},
"guestAuthors": [],
"slug": "treasure-movie-review-stephen-fry-lena-dunham",
"title": "‘Treasure’ Could Have Gone Terribly Wrong",
"publishDate": 1718323793,
"format": "standard",
"headTitle": "‘Treasure’ Could Have Gone Terribly Wrong | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Stephen Fry and Lena Dunham visit the Old Country in an adaptation of the novel 'Too Many Men.'",
"status": "publish",
"parent": 0,
"modified": 1718323793,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 978
},
"headData": {
"title": "Film Review: ‘Treasure’ Could Have Gone Terribly Wrong | KQED",
"description": "Stephen Fry and Lena Dunham visit the Old Country in an adaptation of the novel 'Too Many Men.'",
"ogTitle": "Film Review: ‘Treasure’ Could Have Gone Terribly Wrong",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Treasure’ Could Have Gone Terribly Wrong",
"twDescription": "",
"twImgId": "",
"socialTitle": "Film Review: ‘Treasure’ Could Have Gone Terribly Wrong %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Treasure’ Could Have Gone Terribly Wrong",
"datePublished": "2024-06-13T17:09:53-07:00",
"dateModified": "2024-06-13T17:09:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959801",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959801/treasure-movie-review-stephen-fry-lena-dunham",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\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 we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959801/treasure-movie-review-stephen-fry-lena-dunham",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_9830",
"arts_769"
],
"featImg": "arts_13959835",
"label": "arts_140"
},
"arts_13959775": {
"type": "posts",
"id": "arts_13959775",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959775",
"score": null,
"sort": [
1718307919000
]
},
"guestAuthors": [],
"slug": "consent-jill-ciment-book-review-metoo-memoir",
"title": "In ‘Consent,’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’",
"publishDate": 1718307919,
"format": "standard",
"headTitle": "In ‘Consent,’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>In 1996, novelist Jill Ciment published a memoir called \u003cem>Half a Life. \u003c/em>It is primarily about her hardscrabble childhood in California’s San Fernando Valley, dominated by her difficult, volatile father, whom Ciment realized in hindsight was autistic. But about halfway through, Ciment’s life takes a turn, when at 16, she signs up for figure drawing classes, which she pays for with earnings from a part-time job. She develops a crush on the teacher, a married artist 30 years her senior named Arnold Mesches. Within a year, they are having an affair. Or, as she puts it, “Arnold was having an affair. I was going steady.”\u003c/p>\n\u003cp>That relationship is the subject of Ciment’s follow-up memoir, \u003cem>Consent. Half a Life\u003c/em> was written when she was in her 40s and Arnold (as she refers to him) was in his 70s — at which point they had been married for more than 25 years. Now, eight years after his death at 93, she reconsiders their relationship in light of the #MeToo movement\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13959155']Her remarkable new book — at once forthright, thoughtful, and moving — broaches many questions: “Does a story’s ending excuse its beginning?” “Can a love that starts with such an asymmetrical balance of power ever right itself?” “How do I convey yearning for a kiss while at the same time acknowledge the predatory act of an older man kissing a teenager?”\u003c/p>\n\u003cp>You don’t have to read \u003cem>Half a Life\u003c/em> to appreciate \u003cem>Consent\u003c/em>. In fact, the second memoir\u003cem>, \u003c/em>which both scrutinizes and amplifies what Ciment first wrote about her relationship with Arnold, is a far more interesting book.\u003c/p>\n\u003cp>She describes their first kiss differently in the two memoirs. In the earlier version, she initiated the kiss and Arnold kissed her back, but then stopped himself and said, “Sweetheart, I can’t sleep with you. I’d like to, but I can’t … It wouldn’t be fair to you.” In the new book, he draws her to him and kisses her, and “I fervently kissed him back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The age of consent in California is 18. Had Arnold groomed her with extra attention in class, or with furtive glances down her blouse? What about whispering to her, “I wish you were older”? Her reply in both books: “I’m old enough.”\u003c/p>\n\u003cp>“Me too?” she wonders now. “Did I have the agency to consent?”\u003c/p>\n\u003cp>[aside postid='arts_13959530']Arnold read and discussed the first memoir with her — commenting, for example, that he would never have called a student “sweetheart.” But he was not alive to respond to \u003cem>Consent, \u003c/em>and Ciment tries to imagine his reactions.\u003c/p>\n\u003cp>She questions her earlier assertion that she would never love anyone more than Arnold: “Could I have felt so sure of my love at 17 that I knew nothing would surpass it? Or was my 45-year-old self, in the middle of the marriage and the memoir, trying to burnish the story with love lest it read like a reenactment of Humbert Humbert and Lolita’s cross-country road trip?” Was she protecting Arnold\u003cem>, \u003c/em>even though the statute of limitations had long passed?\u003c/p>\n\u003cp>In a particularly astute passage, Ciment highlights how language reflects changing social attitudes and colors our views — which makes it difficult to judge past behavior by today’s moral codes:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>“If Arnold kissed me first, should I refer to him in the language of today — \u003cem>sexual offender, transgressor, abuser of power? \u003c/em>Or do I refer to him in the language of the late ’90s, when my 45-year-old self wrote the scene? The president at that time was Clinton, and the blue dress was in the news. Men who preyed on younger women were called \u003cem>letches, cradle-robbers, dogs. \u003c/em>Or do I refer to him in the language of 1970, at the apex of the sexual revolution, when the kiss took place — \u003cem>Casanova, silver fox?”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Time also alters the words that might be used to describe teenaged Ciment: a \u003cem>victim\u003c/em> or \u003cem>survivor\u003c/em> in today’s parlance, a \u003cem>bimbo\u003c/em> or \u003cem>vixen\u003c/em> in the ’90s, a \u003cem>cool chick\u003c/em> in the ’70s.\u003c/p>\n\u003cp>It turns out there was plenty Ciment omitted in \u003cem>Half a Life\u003c/em>, including uncomfortable details like the fact that Arnold had not just a wife but another longstanding mistress when they first got together. And that, ever the teacher, he instructed her on sexual techniques and helped her prepare a portfolio of explicit sexual drawings from the female point of view for her application to CalArts school.\u003c/p>\n\u003cp>These early elisions provide a pointed reminder that all writing is selective, and memoirs are certainly no exception.\u003c/p>\n\u003cp>[aside postid='arts_13959550']Ciment’s frankness extends to the disadvantages of being a much younger wife, including Arnold’s inevitable physical diminution, the constant specter of loss, and — more amusingly — being asked how much she’s paid to take care of the old man dozing on a park bench beside her. You don’t have to be a Freudian to note that in Arnold, who was the same age as her father, Ciment found an attentive paternal figure who “showed me who I might become.”\u003c/p>\n\u003cp>But \u003cem>Consent\u003c/em> — whose working title was \u003cem>The Other Half — \u003c/em>makes clear that she found much more. Their “half century of intimacy” included physical and mental stimulation, companionship, power shifts, financial worries, successful creative careers, illnesses, and, through it all, artistic collaborations in which “he was my first audience, as I was his first viewer.”\u003c/p>\n\u003cp>Despite their many conversations about the subject, they never reached a firm consensus about who initiated that first kiss. No such uncertainty exists about their heartbreaking last one. This is a book poised to fuel plenty of discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Consent’ by Jill Ciment is out now, via Pantheon\u003c/em>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Jill Ciment had a long marriage to an older teacher she met when she was 17. Her new memoir reconsiders the relationship.",
"status": "publish",
"parent": 0,
"modified": 1741715541,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1019
},
"headData": {
"title": "Book Review: ‘Consent’ by Jill Ciment Asks Many Hard Questions | KQED",
"description": "Jill Ciment had a long marriage to an older teacher she met when she was 17. Her new memoir reconsiders the relationship.",
"ogTitle": "In ‘Consent’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In ‘Consent’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Consent’ by Jill Ciment Asks Many Hard Questions %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Consent,’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’",
"datePublished": "2024-06-13T12:45:19-07:00",
"dateModified": "2025-03-11T10:52:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Heller McAlpin, NPR",
"nprStoryId": "nx-s1-4998478",
"nprHtmlLink": "https://www.npr.org/2024/06/10/nx-s1-4998478/jill-ciment-memoir-consent-half-a-life-metoo-movement",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-10T11:16:53.287-04:00",
"nprStoryDate": "2024-06-10T11:16:53.287-04:00",
"nprLastModifiedDate": "2024-06-10T11:21:53.547-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959775/consent-jill-ciment-book-review-metoo-memoir",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1996, novelist Jill Ciment published a memoir called \u003cem>Half a Life. \u003c/em>It is primarily about her hardscrabble childhood in California’s San Fernando Valley, dominated by her difficult, volatile father, whom Ciment realized in hindsight was autistic. But about halfway through, Ciment’s life takes a turn, when at 16, she signs up for figure drawing classes, which she pays for with earnings from a part-time job. She develops a crush on the teacher, a married artist 30 years her senior named Arnold Mesches. Within a year, they are having an affair. Or, as she puts it, “Arnold was having an affair. I was going steady.”\u003c/p>\n\u003cp>That relationship is the subject of Ciment’s follow-up memoir, \u003cem>Consent. Half a Life\u003c/em> was written when she was in her 40s and Arnold (as she refers to him) was in his 70s — at which point they had been married for more than 25 years. Now, eight years after his death at 93, she reconsiders their relationship in light of the #MeToo movement\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959155",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Her remarkable new book — at once forthright, thoughtful, and moving — broaches many questions: “Does a story’s ending excuse its beginning?” “Can a love that starts with such an asymmetrical balance of power ever right itself?” “How do I convey yearning for a kiss while at the same time acknowledge the predatory act of an older man kissing a teenager?”\u003c/p>\n\u003cp>You don’t have to read \u003cem>Half a Life\u003c/em> to appreciate \u003cem>Consent\u003c/em>. In fact, the second memoir\u003cem>, \u003c/em>which both scrutinizes and amplifies what Ciment first wrote about her relationship with Arnold, is a far more interesting book.\u003c/p>\n\u003cp>She describes their first kiss differently in the two memoirs. In the earlier version, she initiated the kiss and Arnold kissed her back, but then stopped himself and said, “Sweetheart, I can’t sleep with you. I’d like to, but I can’t … It wouldn’t be fair to you.” In the new book, he draws her to him and kisses her, and “I fervently kissed him back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The age of consent in California is 18. Had Arnold groomed her with extra attention in class, or with furtive glances down her blouse? What about whispering to her, “I wish you were older”? Her reply in both books: “I’m old enough.”\u003c/p>\n\u003cp>“Me too?” she wonders now. “Did I have the agency to consent?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959530",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Arnold read and discussed the first memoir with her — commenting, for example, that he would never have called a student “sweetheart.” But he was not alive to respond to \u003cem>Consent, \u003c/em>and Ciment tries to imagine his reactions.\u003c/p>\n\u003cp>She questions her earlier assertion that she would never love anyone more than Arnold: “Could I have felt so sure of my love at 17 that I knew nothing would surpass it? Or was my 45-year-old self, in the middle of the marriage and the memoir, trying to burnish the story with love lest it read like a reenactment of Humbert Humbert and Lolita’s cross-country road trip?” Was she protecting Arnold\u003cem>, \u003c/em>even though the statute of limitations had long passed?\u003c/p>\n\u003cp>In a particularly astute passage, Ciment highlights how language reflects changing social attitudes and colors our views — which makes it difficult to judge past behavior by today’s moral codes:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>“If Arnold kissed me first, should I refer to him in the language of today — \u003cem>sexual offender, transgressor, abuser of power? \u003c/em>Or do I refer to him in the language of the late ’90s, when my 45-year-old self wrote the scene? The president at that time was Clinton, and the blue dress was in the news. Men who preyed on younger women were called \u003cem>letches, cradle-robbers, dogs. \u003c/em>Or do I refer to him in the language of 1970, at the apex of the sexual revolution, when the kiss took place — \u003cem>Casanova, silver fox?”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Time also alters the words that might be used to describe teenaged Ciment: a \u003cem>victim\u003c/em> or \u003cem>survivor\u003c/em> in today’s parlance, a \u003cem>bimbo\u003c/em> or \u003cem>vixen\u003c/em> in the ’90s, a \u003cem>cool chick\u003c/em> in the ’70s.\u003c/p>\n\u003cp>It turns out there was plenty Ciment omitted in \u003cem>Half a Life\u003c/em>, including uncomfortable details like the fact that Arnold had not just a wife but another longstanding mistress when they first got together. And that, ever the teacher, he instructed her on sexual techniques and helped her prepare a portfolio of explicit sexual drawings from the female point of view for her application to CalArts school.\u003c/p>\n\u003cp>These early elisions provide a pointed reminder that all writing is selective, and memoirs are certainly no exception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959550",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ciment’s frankness extends to the disadvantages of being a much younger wife, including Arnold’s inevitable physical diminution, the constant specter of loss, and — more amusingly — being asked how much she’s paid to take care of the old man dozing on a park bench beside her. You don’t have to be a Freudian to note that in Arnold, who was the same age as her father, Ciment found an attentive paternal figure who “showed me who I might become.”\u003c/p>\n\u003cp>But \u003cem>Consent\u003c/em> — whose working title was \u003cem>The Other Half — \u003c/em>makes clear that she found much more. Their “half century of intimacy” included physical and mental stimulation, companionship, power shifts, financial worries, successful creative careers, illnesses, and, through it all, artistic collaborations in which “he was my first audience, as I was his first viewer.”\u003c/p>\n\u003cp>Despite their many conversations about the subject, they never reached a firm consensus about who initiated that first kiss. No such uncertainty exists about their heartbreaking last one. This is a book poised to fuel plenty of discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Consent’ by Jill Ciment is out now, via Pantheon\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959775/consent-jill-ciment-book-review-metoo-memoir",
"authors": [
"byline_arts_13959775"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_9054",
"arts_22296",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959783",
"label": "arts_140"
},
"arts_13959693": {
"type": "posts",
"id": "arts_13959693",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959693",
"score": null,
"sort": [
1718228545000
]
},
"guestAuthors": [],
"slug": "new-paul-tremblay-book-horror-movie-review",
"title": "Paul Tremblay’s ‘Horror Movie’ Questions the Motivation Behind Evil Acts",
"publishDate": 1718228545,
"format": "aside",
"headTitle": "Paul Tremblay’s ‘Horror Movie’ Questions the Motivation Behind Evil Acts | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13959718\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png\" alt=\"A book cover depicting a smashed VHS tape against a black background.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Horror Movie: A Novel’ by Paul Tremblay. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Tremblay’s \u003cem>Horror Movie\u003c/em> is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.\u003c/p>\n\u003cp>Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay’s already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.\u003c/p>\n\u003cp>[aside postid='arts_13958207']In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled \u003cem>Horror Movie\u003c/em>. With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.\u003c/p>\n\u003cp>Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played “The Thin Kid,” perhaps the original film’s most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but The Thin Kid pushes forward, as always.\u003c/p>\n\u003cp>Reading a Tremblay novel is entering a universe in which confusion and ambiguity — “My answer was not no. I didn’t say the word ‘yes'” — reign supreme. \u003cem>Horror Movie\u003c/em> is no different. In fact, this might be Tremblay’s most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what’s happening, constantly shattering the fourth wall and acknowledging that the events are communal — that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the structure of this novel is unique, the narrative itself is very easy to follow — until it’s not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don’t know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.\u003c/p>\n\u003cp>Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren’t too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay’s work has often interrogated the nature of horror and bad behavior, but never as clearly as he does here.\u003c/p>\n\u003cp>[aside postid='arts_13937318']While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Tremblay’s latest tale is dark, violent and multilayered, showing he can deliver for fans and also push the envelope.",
"status": "publish",
"parent": 0,
"modified": 1718228545,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 926
},
"headData": {
"title": "Book Review: ‘Horror Movie’ by Paul Tremblay Explores Evil Acts | KQED",
"description": "Tremblay’s latest tale is dark, violent and multilayered, showing he can deliver for fans and also push the envelope.",
"ogTitle": "Paul Tremblay’s ‘Horror Movie’ Questions the Motivation Behind Evil Acts",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Paul Tremblay’s ‘Horror Movie’ Questions the Motivation Behind Evil Acts",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Horror Movie’ by Paul Tremblay Explores Evil Acts %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Paul Tremblay’s ‘Horror Movie’ Questions the Motivation Behind Evil Acts",
"datePublished": "2024-06-12T14:42:25-07:00",
"dateModified": "2024-06-12T14:42:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Gabino Iglesias",
"nprStoryId": "nx-s1-5002249",
"nprHtmlLink": "https://www.npr.org/2024/06/11/nx-s1-5002249/paul-tremblay-book-review-horror-movie",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-12T10:03:24.616-04:00",
"nprStoryDate": "2024-06-12T10:03:24.616-04:00",
"nprLastModifiedDate": "2024-06-12T10:03:24.616-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959693/new-paul-tremblay-book-horror-movie-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959718\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png\" alt=\"A book cover depicting a smashed VHS tape against a black background.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Horror Movie: A Novel’ by Paul Tremblay. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Tremblay’s \u003cem>Horror Movie\u003c/em> is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.\u003c/p>\n\u003cp>Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay’s already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958207",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled \u003cem>Horror Movie\u003c/em>. With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.\u003c/p>\n\u003cp>Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played “The Thin Kid,” perhaps the original film’s most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but The Thin Kid pushes forward, as always.\u003c/p>\n\u003cp>Reading a Tremblay novel is entering a universe in which confusion and ambiguity — “My answer was not no. I didn’t say the word ‘yes'” — reign supreme. \u003cem>Horror Movie\u003c/em> is no different. In fact, this might be Tremblay’s most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what’s happening, constantly shattering the fourth wall and acknowledging that the events are communal — that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.\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>While the structure of this novel is unique, the narrative itself is very easy to follow — until it’s not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don’t know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.\u003c/p>\n\u003cp>Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren’t too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay’s work has often interrogated the nature of horror and bad behavior, but never as clearly as he does here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13937318",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959693/new-paul-tremblay-book-horror-movie-review",
"authors": [
"byline_arts_13959693"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_5221",
"arts_5087",
"arts_6028",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959721",
"label": "arts_140"
},
"arts_13959670": {
"type": "posts",
"id": "arts_13959670",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959670",
"score": null,
"sort": [
1718218437000
]
},
"guestAuthors": [],
"slug": "tuesday-with-julia-louis-dreyfus-is-strange-emotional-and-fiercely-original",
"title": "‘Tuesday’ With Julia Louis-Dreyfus Is Strange, Emotional and Fiercely Original",
"publishDate": 1718218437,
"format": "standard",
"headTitle": "‘Tuesday’ With Julia Louis-Dreyfus Is Strange, Emotional and Fiercely Original | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Death has taken many forms in cinema. It’s been Bengt Ekerot. Ian McKellen. John Cleese. Even Brad Pitt with blonde highlights. But in \u003cem>Tuesday\u003c/em>, filmmaker Daina O. Pusić’s bold, fantastical and affecting debut, death looks like a lot like a macaw that’s seen better days.\u003c/p>\n\u003cp>Covered in a thick layer of grime and oil with patches of feathers missing, \u003cem>Tuesday\u003c/em>’s Death can be as big as a room or as small as an ear canal. Its booming, gravelly voice (that of actor Arinzé Kene) sounds ancient and otherworldly. And it all adds up to something profoundly unsettling. Not exactly a comforting welcome into the afterlife, or whatever comes next.\u003c/p>\n\u003cp>[aside postid='arts_13959385']\u003cem>Tuesday\u003c/em>, expanding nationwide Friday, is about death, and acceptance, between a mother and her dying daughter. But this is no Hallmark affair fitting for a sympathy card. It is prickly, wry, somewhat unsentimental, a bit gritty and awfully painful at times. Or maybe it’s just uniquely British. And you may just find yourself in a puddle of your own tears as a result.\u003c/p>\n\u003cp>Now, in terms of cinematic emotional blackmail, a parent coming to terms with a child’s imminent death is pretty much in the red zone. That sort of setup could produce involuntary tears from an audience regardless of the level of talent involved. Thankfully for us, there is immense creativity and vision both in front of and behind the camera, including not just the writer-director but the special effects experts responsible for Death as well as the haunting and innovative sound design.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qvqyBWCN39o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lola Petticrew plays the titular Tuesday, a teen with a \u003cem>Breathless\u003c/em> pixie cut, a love of jokes and rap music and a terminal illness that has bound her to an oxygen tank and the use of a wheelchair. Her mother, Zora ( Julia Louis-Dreyfus ), has entirely disconnected from the situation. She tiptoes around the house waiting for the nurse, Billie (a lovely Leah Harvey), to do the caretaking. She stays out all day, pawning household items for cash to pay for the care, ignoring Tuesday’s calls and occasionally falling asleep on park benches. At home, she doesn’t want to talk to Tuesday about anything real — the death, her job, their precarious financial position — it’s all been deeply repressed and compartmentalized and is making everyone crazy.\u003c/p>\n\u003cp>The day we meet Zora and Tuesday is the day Death arrives. Billie has left Tuesday on the patio for just a minute to start a bath. All of a sudden, the girl who was just joking around is having an episode, gasping for air, when the macaw lands by her side. Death is actually the first character introduced, in an unnerving series of deaths setting an ominous tone that will loom throughout. Some are ready to go, begging for relief. Some are just scared. And all have the same outcome once he’s put his wing around them.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Tuesday, however, decides to tell a joke. This disarms Death (who bursts out laughing) and suddenly they’re in conversation together. She gives him a bath, puts on some music and asks a favor: She’d like to say goodbye to her mom first. Death obliges.\u003c/p>\n\u003cp>Of course the story both is and isn’t that simple. \u003cem>Tuesday\u003c/em> becomes some strange combination of body horror, fairy tale, domestic drama and apocalypse thriller. It is weird and transfixing — never predictable and never boring. Louis-Dreyfus is both chilling and deeply empathetic as this woman who has been paralyzed by grief even before it’s happened. She seems to be preparing for her own death in a way, unable and unwilling to process a life without her daughter who, at this point, doesn’t even realize that her mother still loves her. Petticrew holds her own, going head-to-head with Louis-Dreyfus at her cruelest, exhibiting a wisdom beyond her years and fitting of a person who’s had to grow up and face death far too early.\u003c/p>\n\u003cp>\u003cem>Tuesday\u003c/em> is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tuesday’ begins screening around the Bay Area on June 13, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In Daina O. Pusić's bold, original and affecting debut, Death is portrayed by a macaw that’s seen better days.",
"status": "publish",
"parent": 0,
"modified": 1718218437,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 741
},
"headData": {
"title": "Movie Review: ‘Tuesday’ Offers a Brand New Take on Death, Grief | KQED",
"description": "In Daina O. Pusić's bold, original and affecting debut, Death is portrayed by a macaw that’s seen better days.",
"ogTitle": "‘Tuesday,’ With Julia Louis-Dreyfus, Is Strange, Emotional and Fiercely Original",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Tuesday,’ With Julia Louis-Dreyfus, Is Strange, Emotional and Fiercely Original",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Tuesday’ Offers a Brand New Take on Death, Grief %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Tuesday’ With Julia Louis-Dreyfus Is Strange, Emotional and Fiercely Original",
"datePublished": "2024-06-12T11:53:57-07:00",
"dateModified": "2024-06-12T11:53:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13959670",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959670/tuesday-with-julia-louis-dreyfus-is-strange-emotional-and-fiercely-original",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Death has taken many forms in cinema. It’s been Bengt Ekerot. Ian McKellen. John Cleese. Even Brad Pitt with blonde highlights. But in \u003cem>Tuesday\u003c/em>, filmmaker Daina O. Pusić’s bold, fantastical and affecting debut, death looks like a lot like a macaw that’s seen better days.\u003c/p>\n\u003cp>Covered in a thick layer of grime and oil with patches of feathers missing, \u003cem>Tuesday\u003c/em>’s Death can be as big as a room or as small as an ear canal. Its booming, gravelly voice (that of actor Arinzé Kene) sounds ancient and otherworldly. And it all adds up to something profoundly unsettling. Not exactly a comforting welcome into the afterlife, or whatever comes next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959385",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Tuesday\u003c/em>, expanding nationwide Friday, is about death, and acceptance, between a mother and her dying daughter. But this is no Hallmark affair fitting for a sympathy card. It is prickly, wry, somewhat unsentimental, a bit gritty and awfully painful at times. Or maybe it’s just uniquely British. And you may just find yourself in a puddle of your own tears as a result.\u003c/p>\n\u003cp>Now, in terms of cinematic emotional blackmail, a parent coming to terms with a child’s imminent death is pretty much in the red zone. That sort of setup could produce involuntary tears from an audience regardless of the level of talent involved. Thankfully for us, there is immense creativity and vision both in front of and behind the camera, including not just the writer-director but the special effects experts responsible for Death as well as the haunting and innovative sound design.\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/qvqyBWCN39o'\n title='//www.youtube.com/embed/qvqyBWCN39o'\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>Lola Petticrew plays the titular Tuesday, a teen with a \u003cem>Breathless\u003c/em> pixie cut, a love of jokes and rap music and a terminal illness that has bound her to an oxygen tank and the use of a wheelchair. Her mother, Zora ( Julia Louis-Dreyfus ), has entirely disconnected from the situation. She tiptoes around the house waiting for the nurse, Billie (a lovely Leah Harvey), to do the caretaking. She stays out all day, pawning household items for cash to pay for the care, ignoring Tuesday’s calls and occasionally falling asleep on park benches. At home, she doesn’t want to talk to Tuesday about anything real — the death, her job, their precarious financial position — it’s all been deeply repressed and compartmentalized and is making everyone crazy.\u003c/p>\n\u003cp>The day we meet Zora and Tuesday is the day Death arrives. Billie has left Tuesday on the patio for just a minute to start a bath. All of a sudden, the girl who was just joking around is having an episode, gasping for air, when the macaw lands by her side. Death is actually the first character introduced, in an unnerving series of deaths setting an ominous tone that will loom throughout. Some are ready to go, begging for relief. Some are just scared. And all have the same outcome once he’s put his wing around them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959268",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Tuesday, however, decides to tell a joke. This disarms Death (who bursts out laughing) and suddenly they’re in conversation together. She gives him a bath, puts on some music and asks a favor: She’d like to say goodbye to her mom first. Death obliges.\u003c/p>\n\u003cp>Of course the story both is and isn’t that simple. \u003cem>Tuesday\u003c/em> becomes some strange combination of body horror, fairy tale, domestic drama and apocalypse thriller. It is weird and transfixing — never predictable and never boring. Louis-Dreyfus is both chilling and deeply empathetic as this woman who has been paralyzed by grief even before it’s happened. She seems to be preparing for her own death in a way, unable and unwilling to process a life without her daughter who, at this point, doesn’t even realize that her mother still loves her. Petticrew holds her own, going head-to-head with Louis-Dreyfus at her cruelest, exhibiting a wisdom beyond her years and fitting of a person who’s had to grow up and face death far too early.\u003c/p>\n\u003cp>\u003cem>Tuesday\u003c/em> is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tuesday’ begins screening around the Bay Area on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959670/tuesday-with-julia-louis-dreyfus-is-strange-emotional-and-fiercely-original",
"authors": [
"byline_arts_13959670"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_8905",
"arts_769",
"arts_585"
],
"featImg": "arts_13959672",
"label": "arts_140"
},
"arts_13959635": {
"type": "posts",
"id": "arts_13959635",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959635",
"score": null,
"sort": [
1718202315000
]
},
"guestAuthors": [],
"slug": "queenie-novel-hulu-series-candice-carty-williams-analysis",
"title": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"publishDate": 1718202315,
"format": "standard",
"headTitle": "Queenie’s Second Life on Screen Gives Her More Room to Grow | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>[aside postid='arts_13959601']The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwRwPcm3P4Q\u003c/p>\n\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>[aside postid='arts_13959205']\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>[aside postid='arts_13959163']\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>[aside postid='arts_13958131']Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "An irresistible new Hulu series follows the quarter-life growing pains of a lonely South Londoner.",
"status": "publish",
"parent": 0,
"modified": 1726701240,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1979
},
"headData": {
"title": "Candice Carty-Williams’ ‘Queenie’ Novel Is Expanded for TV | KQED",
"description": "An irresistible new Hulu series follows the quarter-life growing pains of a lonely South Londoner.",
"ogTitle": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"twDescription": "",
"twImgId": "",
"socialTitle": "Candice Carty-Williams’ ‘Queenie’ Novel Is Expanded for TV %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Queenie’s Second Life on Screen Gives Her More Room to Grow",
"datePublished": "2024-06-12T07:25:15-07:00",
"dateModified": "2024-09-18T16:14:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Carole V. Bell",
"nprStoryId": "nx-s1-4996423",
"nprHtmlLink": "https://www.npr.org/2024/06/11/nx-s1-4996423/queenie-hulu-streaming-candice-carty-williams",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-11T15:08:59.068-04:00",
"nprStoryDate": "2024-06-11T15:08:59.068-04:00",
"nprLastModifiedDate": "2024-06-11T17:08:04.609-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959635/queenie-novel-hulu-series-candice-carty-williams-analysis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959601",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\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/wwRwPcm3P4Q'\n title='//www.youtube.com/embed/wwRwPcm3P4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\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>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959205",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959163",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958131",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\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>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959635/queenie-novel-hulu-series-candice-carty-williams-analysis",
"authors": [
"byline_arts_13959635"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_990"
],
"tags": [
"arts_5234",
"arts_769",
"arts_585",
"arts_5292"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959636",
"label": "arts_140"
},
"arts_13959375": {
"type": "posts",
"id": "arts_13959375",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959375",
"score": null,
"sort": [
1718148848000
]
},
"guestAuthors": [],
"slug": "erotic-resistance-glbt-historical-society-sex-work-exhibit",
"title": "‘Erotic Resistance’ Reveals the Historical Defiance of San Francisco Sex Workers",
"publishDate": 1718148848,
"format": "aside",
"headTitle": "‘Erotic Resistance’ Reveals the Historical Defiance of San Francisco Sex Workers | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13959624\" class=\"wp-caption aligncenter\" style=\"max-width: 1295px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959624\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_135010-e1718141927212.jpg\" alt=\"A woman wearing a ski mask and a bikini kneels of the floor, one fist raised in defiance.\" width=\"1295\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Isis Rodriguez — the self-described “Zapatista Stripper” — in 1998. \u003ccite>(Eugenio Castro/Courtesy of the GLBT Historical Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Roxanne Alegria wrote an essay about her life as a topless dancer in San Francisco for \u003cem>Confidential\u003c/em> — a scandalous magazine that covered unabashedly taboo topics of the time.\u003c/p>\n\u003cp>[aside postid='arts_13958719']“The rage in San Francisco today is topless dancers,” Alegria wrote. “There are dozens of them, and \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">each one tries to be different\u003c/a> to the next … I do not have to worry about any of this, for I know I am truly different. I am the only topless dancer who was born a boy … If you come to the Off Broadway Club and watch me perform in the Topless Fashion Revue, you will find it hard to believe that I was ever anything but a girl.”\u003c/p>\n\u003cp>Between 1863 and 1974, it was illegal in California to wear clothing that didn’t belong to the gender you were assigned at birth. To be openly transgender in the 1960s didn’t just carry personal risks, it came with potential legal pitfalls as well. The frankness and openness with which Alegria talked about her gender was quite revolutionary — even if the exploitive framing of her story within the magazine would never fly today.\u003c/p>\n\u003cfigure id=\"attachment_13959626\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-scaled.jpg\" alt=\"A tabloid spread featuring a topless person, a person in a suit and copies of a birth certificate.\" width=\"2560\" height=\"1793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-1536x1076.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-2048x1435.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-1920x1345.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Alegria tells her story in a 1967 issue of ‘Confidential,’ as seen in the ‘Erotic Resistance’ exhibit currently on display at San Francisco’s GLBT Historical Society. \u003ccite>(Courtesy of the GLBT Historical Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alegria’s is just one of the stories featured in a new exhibit at the GLBT Historical Society in San Francisco’s Castro District. \u003cem>\u003ca href=\"https://www.glbthistory.org/events/2024/6/7/erotic-resistance-opening\">Erotic Resistance: Performance, Art, and Activism in San Francisco Strip Clubs (1960s–1990s)\u003c/a>\u003c/em> tracks LGBTQ+ performers around the city whose work — even if not respected by mainstream America — helped to educate the public in myriad ways.\u003c/p>\n\u003cp>[aside postid='arts_13894842']Items on display include personal photos, magazine clippings and even official paperwork. The exhibit begins with drag performers at the legendary Finnochio’s, covers trans dancers like Alegria and her close friend Vicki Starr, and gives an overview of the \u003ca href=\"https://www.kqed.org/news/109654/the-lusty-ladys-last-dance\">Lusty Lady dancers\u003c/a> who successfully unionized in the 1990s. The ephemera on view also gives props to Arlene Elster, one-time owner of the Sutter Street Cinema and a pornographer in her own right. Elster fought obscenity charges all the way to the Supreme Court in the 1970s before retiring with her girlfriend to Sonoma.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curated by \u003ca href=\"https://www.gigiotalvaro.org/bio-cv/\">Gigi Otálvaro-Hormillosa\u003c/a>, and based on her new book \u003ca href=\"https://www.ucpress.edu/book/9780520398955/erotic-resistance\">\u003cem>Erotic Resistance: The Struggle for the Soul of San Francisco\u003c/em>\u003c/a>, the \u003cem>Erotic Resistance\u003c/em> exhibit is a testament to the ways in which folks living on society’s fringes can defiantly forge paths towards both wider recognition and better compensation. When they successfully do so, it’s a victory not just for them, but for future generations of sex workers. \u003cem>Erotic Resistance\u003c/em> allows us the privilege to spend some time in their gorgeously righteous company — a true and genuine pleasure.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.glbthistory.org/events/2024/6/7/erotic-resistance-opening\">Erotic Resistance: Performance, Art, and Activism in San Francisco Strip Clubs (1960s–1990s)\u003c/a>’ is on display now at the GLBT Historical Society (4127 18th St., San Francisco).\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "An exhibit at the GLBT Historical Society shows how San Francisco’s topless performers fought for their rights.",
"status": "publish",
"parent": 0,
"modified": 1726770909,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 555
},
"headData": {
"title": "‘Erotic Resistance’ Is a Thrill at SF’s GLBT Historical Society | KQED",
"description": "An exhibit at the GLBT Historical Society shows how San Francisco’s topless performers fought for their rights.",
"ogTitle": "‘Erotic Resistance’ Reveals the Historical Defiance of San Francisco Sex Workers",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Erotic Resistance’ Reveals the Historical Defiance of San Francisco Sex Workers",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Erotic Resistance’ Is a Thrill at SF’s GLBT Historical Society %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Erotic Resistance’ Reveals the Historical Defiance of San Francisco Sex Workers",
"datePublished": "2024-06-11T16:34:08-07:00",
"dateModified": "2024-09-19T11:35:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959375",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959375/erotic-resistance-glbt-historical-society-sex-work-exhibit",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959624\" class=\"wp-caption aligncenter\" style=\"max-width: 1295px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959624\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_135010-e1718141927212.jpg\" alt=\"A woman wearing a ski mask and a bikini kneels of the floor, one fist raised in defiance.\" width=\"1295\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Isis Rodriguez — the self-described “Zapatista Stripper” — in 1998. \u003ccite>(Eugenio Castro/Courtesy of the GLBT Historical Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Roxanne Alegria wrote an essay about her life as a topless dancer in San Francisco for \u003cem>Confidential\u003c/em> — a scandalous magazine that covered unabashedly taboo topics of the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958719",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The rage in San Francisco today is topless dancers,” Alegria wrote. “There are dozens of them, and \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">each one tries to be different\u003c/a> to the next … I do not have to worry about any of this, for I know I am truly different. I am the only topless dancer who was born a boy … If you come to the Off Broadway Club and watch me perform in the Topless Fashion Revue, you will find it hard to believe that I was ever anything but a girl.”\u003c/p>\n\u003cp>Between 1863 and 1974, it was illegal in California to wear clothing that didn’t belong to the gender you were assigned at birth. To be openly transgender in the 1960s didn’t just carry personal risks, it came with potential legal pitfalls as well. The frankness and openness with which Alegria talked about her gender was quite revolutionary — even if the exploitive framing of her story within the magazine would never fly today.\u003c/p>\n\u003cfigure id=\"attachment_13959626\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-scaled.jpg\" alt=\"A tabloid spread featuring a topless person, a person in a suit and copies of a birth certificate.\" width=\"2560\" height=\"1793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-1536x1076.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-2048x1435.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134553-1920x1345.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Alegria tells her story in a 1967 issue of ‘Confidential,’ as seen in the ‘Erotic Resistance’ exhibit currently on display at San Francisco’s GLBT Historical Society. \u003ccite>(Courtesy of the GLBT Historical Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alegria’s is just one of the stories featured in a new exhibit at the GLBT Historical Society in San Francisco’s Castro District. \u003cem>\u003ca href=\"https://www.glbthistory.org/events/2024/6/7/erotic-resistance-opening\">Erotic Resistance: Performance, Art, and Activism in San Francisco Strip Clubs (1960s–1990s)\u003c/a>\u003c/em> tracks LGBTQ+ performers around the city whose work — even if not respected by mainstream America — helped to educate the public in myriad ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894842",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Items on display include personal photos, magazine clippings and even official paperwork. The exhibit begins with drag performers at the legendary Finnochio’s, covers trans dancers like Alegria and her close friend Vicki Starr, and gives an overview of the \u003ca href=\"https://www.kqed.org/news/109654/the-lusty-ladys-last-dance\">Lusty Lady dancers\u003c/a> who successfully unionized in the 1990s. The ephemera on view also gives props to Arlene Elster, one-time owner of the Sutter Street Cinema and a pornographer in her own right. Elster fought obscenity charges all the way to the Supreme Court in the 1970s before retiring with her girlfriend to Sonoma.\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>Curated by \u003ca href=\"https://www.gigiotalvaro.org/bio-cv/\">Gigi Otálvaro-Hormillosa\u003c/a>, and based on her new book \u003ca href=\"https://www.ucpress.edu/book/9780520398955/erotic-resistance\">\u003cem>Erotic Resistance: The Struggle for the Soul of San Francisco\u003c/em>\u003c/a>, the \u003cem>Erotic Resistance\u003c/em> exhibit is a testament to the ways in which folks living on society’s fringes can defiantly forge paths towards both wider recognition and better compensation. When they successfully do so, it’s a victory not just for them, but for future generations of sex workers. \u003cem>Erotic Resistance\u003c/em> allows us the privilege to spend some time in their gorgeously righteous company — a true and genuine pleasure.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.glbthistory.org/events/2024/6/7/erotic-resistance-opening\">Erotic Resistance: Performance, Art, and Activism in San Francisco Strip Clubs (1960s–1990s)\u003c/a>’ is on display now at the GLBT Historical Society (4127 18th St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959375/erotic-resistance-glbt-historical-society-sex-work-exhibit",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_10278",
"arts_3226",
"arts_769",
"arts_4330",
"arts_585"
],
"featImg": "arts_13959629",
"label": "arts_140"
},
"arts_13959601": {
"type": "posts",
"id": "arts_13959601",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959601",
"score": null,
"sort": [
1718131433000
]
},
"guestAuthors": [],
"slug": "brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats",
"title": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"publishDate": 1718131433,
"format": "standard",
"headTitle": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.",
"status": "publish",
"parent": 0,
"modified": 1718133584,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 942
},
"headData": {
"title": "‘Brats’ Documentary: Andrew McCarthy and ’80s Pals Reunite | KQED",
"description": "In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.",
"ogTitle": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Brats’ Documentary: Andrew McCarthy and ’80s Pals Reunite %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary",
"datePublished": "2024-06-11T11:43:53-07:00",
"dateModified": "2024-06-11T12:19:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13959601",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959601/brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959577",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\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>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958881",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\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/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958762",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959601/brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats",
"authors": [
"byline_arts_13959601"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_10493",
"arts_13672",
"arts_5234",
"arts_769",
"arts_585"
],
"featImg": "arts_13959604",
"label": "arts_140"
},
"arts_13959530": {
"type": "posts",
"id": "arts_13959530",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959530",
"score": null,
"sort": [
1718054470000
]
},
"guestAuthors": [],
"slug": "vixen-amber-halloway-carol-lahines-new-novel-review-madness",
"title": "Carol LaHines’ Chilling Novel Chronicles a Jilted Woman’s Descent Into Madness",
"publishDate": 1718054470,
"format": "aside",
"headTitle": "Carol LaHines’ Chilling Novel Chronicles a Jilted Woman’s Descent Into Madness | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13959531\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png\" alt=\"A book cover depicting a photo of an attractive woman's face behind shattered glass.\" width=\"848\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-800x1126.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-160x225.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-768x1081.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘The Vixen Amber Halloway’ by Carol LaHines. \u003ccite>(Regal House Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no accident that the narrator of Carol LaHines’s second novel, \u003cem>The Vixen Amber Halloway\u003c/em>, is a literature professor named Ophelia. That was also the name of a woman who had her heart broken and was driven to madness by the title character in Shakespeare’s \u003cem>Hamlet\u003c/em>.\u003c/p>\n\u003cp>When we first meet LaHines’s Ophelia, she is being interviewed by a prison psychologist. Ophelia’s heart has been broken, too, and it is evident that it has led her to do something terrible. Her field of study, we soon learn, was Dante Alighieri’s\u003cem> Divine Comedy\u003c/em>, a 14th century narrative poem about the horrifying wages of sin.\u003c/p>\n\u003cp>[aside postid='arts_13959414']Obsessed with her work, Ophelia had no time for dating, so she was well into her 30s when a friend fixed her up with Andy, a medical equipment salesman. Although they had little in common, they fell in love and married. But five years later, she discovered he was cheating with a young woman named Amber. At first, he denied the affair, but not long after he filed for divorce and declared his intention to marry his paramour.\u003c/p>\n\u003cp>“I have a hole in my heart the size of a shotgun wound,” Ophelia says. Quoting Dante, she adds, “Abandon all hope, ye who enter here.”\u003c/p>\n\u003cp>This is not the first time Ophelia was abandoned. When she was a child, her mother ran off with a car salesman, leaving the girl to be raised by her inconsolable, suicidal father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Time is not linear,” she says, “but a tripwire, events we keep stumbling over again and again, nettles in the brain, thorns in the heart.”\u003c/p>\n\u003cp>So Ophelia trolls Amber on the internet, spies on her and Andy for months, and even kills their dog. The novel grows increasingly chilling as Ophelia recounts her growing obsession, her towering rage, and her descent into madness, leading her to eventually do something far worse.\u003c/p>\n\u003cp>At times, she seems sorry for what she has done, but, at others, she makes excuses.\u003c/p>\n\u003cp>“Who has not experienced the haphazard cruelties of love?” she asks. “Who has not wished, fervently desired, for the new love interest to be simply gone, erased from your life?…\u003c/p>\n\u003cp>[aside postid='arts_13959224']“What would you do in my place?”\u003c/p>\n\u003cp>LaHines’s writing borders on the lyrical when Ophelia recalls the joyful early years of her marriage, but when she confesses her sins, her voice is stilted and often emotionless.\u003c/p>\n\u003cp>In the end, her descent into delusion is complete.\u003c/p>\n\u003cp>“One day, you and I will be together,” she addresses the absent Andy. “Your hand firmly in my grasp.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Vixen Amber Halloway’ is released on June 11, 2024 via Regal House Publishing.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A woman named Ophelia is driven to drastic actions by heartbreak, just like her namesake in ‘Hamlet.’",
"status": "publish",
"parent": 0,
"modified": 1718054739,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 488
},
"headData": {
"title": "Book Review: ‘The Vixen Amber Halloway’ by Carol LaHines | KQED",
"description": "A woman named Ophelia is driven to drastic actions by heartbreak, just like her namesake in ‘Hamlet.’",
"ogTitle": "Carol LaHines’ Chilling Novel Chronicles a Jilted Woman’s Descent Into Madness",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Carol LaHines’ Chilling Novel Chronicles a Jilted Woman’s Descent Into Madness",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘The Vixen Amber Halloway’ by Carol LaHines %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Carol LaHines’ Chilling Novel Chronicles a Jilted Woman’s Descent Into Madness",
"datePublished": "2024-06-10T14:21:10-07:00",
"dateModified": "2024-06-10T14:25:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bruce DeSilva, Associated Press",
"nprStoryId": "kqed-13959530",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959530/vixen-amber-halloway-carol-lahines-new-novel-review-madness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959531\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png\" alt=\"A book cover depicting a photo of an attractive woman's face behind shattered glass.\" width=\"848\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-800x1126.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-160x225.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-768x1081.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘The Vixen Amber Halloway’ by Carol LaHines. \u003ccite>(Regal House Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no accident that the narrator of Carol LaHines’s second novel, \u003cem>The Vixen Amber Halloway\u003c/em>, is a literature professor named Ophelia. That was also the name of a woman who had her heart broken and was driven to madness by the title character in Shakespeare’s \u003cem>Hamlet\u003c/em>.\u003c/p>\n\u003cp>When we first meet LaHines’s Ophelia, she is being interviewed by a prison psychologist. Ophelia’s heart has been broken, too, and it is evident that it has led her to do something terrible. Her field of study, we soon learn, was Dante Alighieri’s\u003cem> Divine Comedy\u003c/em>, a 14th century narrative poem about the horrifying wages of sin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959414",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Obsessed with her work, Ophelia had no time for dating, so she was well into her 30s when a friend fixed her up with Andy, a medical equipment salesman. Although they had little in common, they fell in love and married. But five years later, she discovered he was cheating with a young woman named Amber. At first, he denied the affair, but not long after he filed for divorce and declared his intention to marry his paramour.\u003c/p>\n\u003cp>“I have a hole in my heart the size of a shotgun wound,” Ophelia says. Quoting Dante, she adds, “Abandon all hope, ye who enter here.”\u003c/p>\n\u003cp>This is not the first time Ophelia was abandoned. When she was a child, her mother ran off with a car salesman, leaving the girl to be raised by her inconsolable, suicidal father.\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>“Time is not linear,” she says, “but a tripwire, events we keep stumbling over again and again, nettles in the brain, thorns in the heart.”\u003c/p>\n\u003cp>So Ophelia trolls Amber on the internet, spies on her and Andy for months, and even kills their dog. The novel grows increasingly chilling as Ophelia recounts her growing obsession, her towering rage, and her descent into madness, leading her to eventually do something far worse.\u003c/p>\n\u003cp>At times, she seems sorry for what she has done, but, at others, she makes excuses.\u003c/p>\n\u003cp>“Who has not experienced the haphazard cruelties of love?” she asks. “Who has not wished, fervently desired, for the new love interest to be simply gone, erased from your life?…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959224",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“What would you do in my place?”\u003c/p>\n\u003cp>LaHines’s writing borders on the lyrical when Ophelia recalls the joyful early years of her marriage, but when she confesses her sins, her voice is stilted and often emotionless.\u003c/p>\n\u003cp>In the end, her descent into delusion is complete.\u003c/p>\n\u003cp>“One day, you and I will be together,” she addresses the absent Andy. “Your hand firmly in my grasp.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Vixen Amber Halloway’ is released on June 11, 2024 via Regal House Publishing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959530/vixen-amber-halloway-carol-lahines-new-novel-review-madness",
"authors": [
"byline_arts_13959530"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_5221",
"arts_769",
"arts_585"
],
"featImg": "arts_13959534",
"label": "arts_140"
},
"arts_13959515": {
"type": "posts",
"id": "arts_13959515",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959515",
"score": null,
"sort": [
1718052367000
]
},
"guestAuthors": [],
"slug": "franz-kafka-tv-miniseries-review-kafkaesque-germany",
"title": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"publishDate": 1718052367,
"format": "standard",
"headTitle": "Franz Kafka’s Life Wasn’t So Kafkaesque After All, TV Miniseries Shows | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>[aside postid='arts_13959459']“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uAANEfhwgw8\u003c/p>\n\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>[aside postid='arts_13959205']Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>[aside postid='arts_13958863']In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>[aside postid='arts_13959163']Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "NPR speaks with lead actor Joel Basman and director David Schalko about his German-Austrian miniseries ‘Kafka.’",
"status": "publish",
"parent": 0,
"modified": 1726701273,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1364
},
"headData": {
"title": "‘Kafka’ Review: New TV Show Humanizes Enigmatic Writer | KQED",
"description": "NPR speaks with lead actor Joel Basman and director David Schalko about his German-Austrian miniseries ‘Kafka.’",
"ogTitle": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Kafka’ Review: New TV Show Humanizes Enigmatic Writer %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
"datePublished": "2024-06-10T13:46:07-07:00",
"dateModified": "2024-09-18T16:14:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Olivia Hampton",
"nprStoryId": "nx-s1-4952406",
"nprHtmlLink": "https://www.npr.org/2024/06/10/nx-s1-4952406/kafka-tv-miniseries-kafkaesque",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-10T05:34:45.874-04:00",
"nprStoryDate": "2024-06-10T05:34:45.874-04:00",
"nprLastModifiedDate": "2024-06-10T14:20:16.816-04:00",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2024/06/20240610_me_franz_kafka_s_life_wasn_t_so_kafkaesque_after_all_tv_miniseries_shows.mp3?size=6496384&d=405971&e=nx-s1-4952406",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959515/franz-kafka-tv-miniseries-review-kafkaesque-germany",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2024/06/20240610_me_franz_kafka_s_life_wasn_t_so_kafkaesque_after_all_tv_miniseries_shows.mp3?size=6496384&d=405971&e=nx-s1-4952406",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959459",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\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/uAANEfhwgw8'\n title='//www.youtube.com/embed/uAANEfhwgw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959205",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958863",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959163",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959515/franz-kafka-tv-miniseries-review-kafkaesque-germany",
"authors": [
"byline_arts_13959515"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_22115",
"arts_1050",
"arts_4566",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959519",
"label": "arts_140"
},
"arts_13959459": {
"type": "posts",
"id": "arts_13959459",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959459",
"score": null,
"sort": [
1717783251000
]
},
"guestAuthors": [],
"slug": "becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"title": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon",
"publishDate": 1717783251,
"format": "standard",
"headTitle": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new Hulu show takes us surprisingly deep inside a controversial figure who moved constantly forward, spurred on by ambition.",
"status": "publish",
"parent": 0,
"modified": 1717783251,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 820
},
"headData": {
"title": "‘Becoming Karl Lagerfeld’ Review: New Hulu Show Dives Deep | KQED",
"description": "A new Hulu show takes us surprisingly deep inside a controversial figure who moved constantly forward, spurred on by ambition.",
"ogTitle": "'Becoming Karl Lagerfeld' Is the Smart Backstory of a Complicated Style Icon",
"ogDescription": "",
"ogImgId": "",
"twTitle": "'Becoming Karl Lagerfeld' Is the Smart Backstory of a Complicated Style Icon",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Becoming Karl Lagerfeld’ Review: New Hulu Show Dives Deep%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon",
"datePublished": "2024-06-07T11:00:51-07:00",
"dateModified": "2024-06-07T11:00:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "John Powers",
"nprStoryId": "nx-s1-4992367",
"nprHtmlLink": "https://www.npr.org/2024/06/04/nx-s1-4992367/becoming-karl-lagerfeld-review",
"nprRetrievedStory": "1",
"nprPubDate": "2024-06-07T11:51:50.657-04:00",
"nprStoryDate": "2024-06-07T11:51:50.657-04:00",
"nprLastModifiedDate": "2024-06-07T11:52:06.816-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959459/becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928464",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\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/dWs94_ZaDLw'\n title='//www.youtube.com/embed/dWs94_ZaDLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958404",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959459/becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"authors": [
"byline_arts_13959459"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_76",
"arts_75",
"arts_990"
],
"tags": [
"arts_22004",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13959461",
"label": "arts_140"
},
"arts_13959443": {
"type": "posts",
"id": "arts_13959443",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959443",
"score": null,
"sort": [
1717781973000
]
},
"guestAuthors": [],
"slug": "lindsey-white-fantastico-casemore-gallery-review",
"title": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI — and an Indictment of Academia",
"publishDate": 1717781973,
"format": "standard",
"headTitle": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI — and an Indictment of Academia | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The opening of Lindsey White’s latest solo exhibition, \u003cem>\u003ca href=\"https://casemoregallery.com/exhibitions/57/installation_shots/\">Fantastico!\u003c/a>\u003c/em>, at San Francisco’s Casemore Gallery, was a pancake breakfast. The format was fitting: It wasn’t just a celebration for White’s latest body of work, but for San Francisco’s art community.\u003c/p>\n\u003cp>The reception was packed with people I knew from \u003ca href=\"https://www.sfexaminer.com/culture/an-obituary-for-the-san-francisco-art-institute/article_2ea16c6e-079b-11ed-8e93-0b10c0798244.html\">my days studying\u003c/a> at the San Francisco Art Institute, including White, who taught at the college for over a decade until its closure in 2022. After that, she accepted a position as Director of Contemporary Practices at the School of the Art Institute of Chicago. A year later, she left academia and moved back to San Francisco.\u003c/p>\n\u003cp>\u003cem>Fantastico!\u003c/em> deftly reflects the rollercoaster of her last few years, offering a meditation on the failings of higher education and the absurdity of American politics, art school and parties. The show’s title refers to another bygone San Francisco institution close to White’s heart: a now-shuttered party supply store in SoMa that was once a major inspiration for the artist.\u003c/p>\n\u003cp>“Sometimes if I felt lost, I would just go there and walk around,” she said. But when she found out it was closing in 2020, she “walked through the aisles weeping.”\u003c/p>\n\u003cp>The closure of Fantastico provides a distillation of many of the show’s themes. “It’s a metaphor for a lot of the shifts and changes in San Francisco,” White said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another thing the party store and SFAI had in common (besides their closure) was the celebration of community and gathering. That thematic thread is especially poignant in the wake of COVID’s devastating effects on the local arts scene, capping off a decade of artists being continuously priced out of the Bay Area.\u003c/p>\n\u003cp>[aside postID='arts_13925086']The centerpiece of the exhibition is the sculpture \u003cem>Closed for Business SFAI 2023\u003c/em>, an eight-foot wooden tower with three screens recessed into its surface, playing video footage filmed inside the shuttered campus. The notably empty school seems frozen in time, the darkrooms and painting studios waiting to be filled, the common areas devoid of the goth kids and hipsters sharing cigarettes and arguing about performance art. Only one human presence is momentarily visible on screen: the school’s longtime librarian and archivist Jeff Gunderson, who can be seen packing to \u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">move the school’s archive\u003c/a> downtown.\u003c/p>\n\u003cfigure id=\"attachment_13959463\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-scaled.jpg\" alt=\"Plywood tower with three screens showing stills from video tour of closed school\" width=\"1920\" height=\"2560\" class=\"size-full wp-image-13959463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘Closed for Business SFAI 2023,’ 2024. \u003ccite>(Chris Grunder/Casemore Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ran into Gunderson at the pancake breakfast, and we stood together, vicariously wandering the halls of what was once a pillar of the Bay Area’s art community. We both wept. I hadn’t seen inside the campus since it was boarded up a couple years ago, and it was almost exactly how I remembered it — except for the people who made it what it was.\u003c/p>\n\u003cp>The former campus was \u003ca href=\"https://hyperallergic.com/875608/nonprofit-led-by-steve-jobs-widow-acquires-san-francisco-art-institute-for-30m/\">recently purchased\u003c/a> by a group of investors led by philanthropist Laurene Powell Jobs, widow of the late Steve Jobs and a major player in funding the construction of \u003ca href=\"https://www.kqed.org/news/11987138/california-forever-hands-out-500k-to-solano-nonprofits-ahead-of-november-election\">a “tech utopia” in Solano county\u003c/a>. Powell Jobs and her advisory board have announced intentions to renovate the campus, but retain its purpose as some sort of arts institution.\u003c/p>\n\u003cp>This acquisition feels like too little too late for White. “[SFAI] could have been saved by the same person who bought it,” she said. “The legacy is broken.” As much as \u003cem>Closed for Business\u003c/em> is about remembering the school, it’s also — like all grieving — about letting it go.\u003c/p>\n\u003cfigure id=\"attachment_13959457\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000.jpg\" alt=\"gallery with gray-painted back wall, sculpture and wall works\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13959457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Fantastico!’ with ‘Academic Affairs,’ the painted back wall. \u003ccite>(Chris Grunder/Casemore Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concurrent with the exhibition is the publication of White’s book \u003cem>\u003ca href=\"https://www.colpapress.com/products/what-is-art-lindsey-white-anonymous\">What? Is? Art?\u003c/a>\u003c/em>, which features photographs taken inside SFAI and essays by anonymous professors in higher arts education. The authors bemoan the unrealistic expectations put on educators, the lack of fair compensation and the horrors of academic bureaucracy. While these stories elucidate the precarious state of higher education, the issues in both the book and \u003cem>Fantastico!\u003c/em> extend well beyond academia. American politics, too, are often bogged down in the unbelievable. Increasing censorship and limits to autonomy combine into what often feels like a farcical clown show.\u003c/p>\n\u003cp>The wall-hanging artwork \u003cem>FORCES OF EVIL IN A BOZO NIGHTMARE\u003c/em> features the titular slogan (and Beck lyric) written in capital letters around the frame of a mirror, shattered in places to reveal a brick wall behind it. The motif of the wall is repeated elsewhere in the show, especially prominently in the conceptual painting \u003cem>Academic Affairs\u003c/em>. While the piece’s slate gray wall visually references SFAI’s architecture, it also brings to mind the literal stonewalling of professors and students common in convoluted academic bureaucracies.\u003c/p>\n\u003cfigure id=\"attachment_13959458\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-scaled.jpg\" alt=\"Framed work with 'shattered' sections of scratched mirror revealing brick wall\" width=\"1920\" height=\"2560\" class=\"size-full wp-image-13959458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘FORCES OF EVIL IN A BOZO NIGHTMARE.’ \u003ccite>(Chris Grunder/Casemore Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tiny toy dogs, collectively titled \u003cem>Naysayers\u003c/em>, dot the walls of the gallery, holding signs in their droopy mouths with messages like “Promote yourself,” “That’s life!” and “Expendable.” A larger, animatronic dog croons Frank Sinatra’s “My Way” from the mouth of a Halloween mask. These institutional watchdogs do more watching than hounding, sitting by forlornly while the forces of evil take their course. The Sinatra soundtrack, ambient throughout the exhibition, rings like a cautionary tale to those who dare stand up for themselves.\u003c/p>\n\u003cp>But we needn’t do so alone. Looking around the opening of \u003cem>Fantastico!\u003c/em> I was reminded why I still call San Francisco home. It’s the same reason White moved back.\u003c/p>\n\u003cp>“There are a lot of incredible people here,” she said.\u003c/p>\n\u003cp>We may be in a bozo nightmare, but we’re in it together, watching the dark dramedy unfold.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fantastico!’ is on view at Casemore Gallery (1275 Minnesota St., San Francisco) through July 13, 2024.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The artist’s show at Casemore Gallery offers a sly yet poignant take on the failings of higher education.",
"status": "publish",
"parent": 0,
"modified": 1721076523,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1006
},
"headData": {
"title": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI | KQED",
"description": "The artist’s show at Casemore Gallery offers a sly yet poignant take on the failings of higher education.",
"ogTitle": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI — and an Indictment of Academia",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI — and an Indictment of Academia",
"twDescription": "",
"twImgId": "",
"socialTitle": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lindsey White’s ‘Fantastico!’ Is an Elegy for SFAI — and an Indictment of Academia",
"datePublished": "2024-06-07T10:39:33-07:00",
"dateModified": "2024-07-15T13:48:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959443",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959443/lindsey-white-fantastico-casemore-gallery-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The opening of Lindsey White’s latest solo exhibition, \u003cem>\u003ca href=\"https://casemoregallery.com/exhibitions/57/installation_shots/\">Fantastico!\u003c/a>\u003c/em>, at San Francisco’s Casemore Gallery, was a pancake breakfast. The format was fitting: It wasn’t just a celebration for White’s latest body of work, but for San Francisco’s art community.\u003c/p>\n\u003cp>The reception was packed with people I knew from \u003ca href=\"https://www.sfexaminer.com/culture/an-obituary-for-the-san-francisco-art-institute/article_2ea16c6e-079b-11ed-8e93-0b10c0798244.html\">my days studying\u003c/a> at the San Francisco Art Institute, including White, who taught at the college for over a decade until its closure in 2022. After that, she accepted a position as Director of Contemporary Practices at the School of the Art Institute of Chicago. A year later, she left academia and moved back to San Francisco.\u003c/p>\n\u003cp>\u003cem>Fantastico!\u003c/em> deftly reflects the rollercoaster of her last few years, offering a meditation on the failings of higher education and the absurdity of American politics, art school and parties. The show’s title refers to another bygone San Francisco institution close to White’s heart: a now-shuttered party supply store in SoMa that was once a major inspiration for the artist.\u003c/p>\n\u003cp>“Sometimes if I felt lost, I would just go there and walk around,” she said. But when she found out it was closing in 2020, she “walked through the aisles weeping.”\u003c/p>\n\u003cp>The closure of Fantastico provides a distillation of many of the show’s themes. “It’s a metaphor for a lot of the shifts and changes in San Francisco,” White said.\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>Another thing the party store and SFAI had in common (besides their closure) was the celebration of community and gathering. That thematic thread is especially poignant in the wake of COVID’s devastating effects on the local arts scene, capping off a decade of artists being continuously priced out of the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13925086",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The centerpiece of the exhibition is the sculpture \u003cem>Closed for Business SFAI 2023\u003c/em>, an eight-foot wooden tower with three screens recessed into its surface, playing video footage filmed inside the shuttered campus. The notably empty school seems frozen in time, the darkrooms and painting studios waiting to be filled, the common areas devoid of the goth kids and hipsters sharing cigarettes and arguing about performance art. Only one human presence is momentarily visible on screen: the school’s longtime librarian and archivist Jeff Gunderson, who can be seen packing to \u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">move the school’s archive\u003c/a> downtown.\u003c/p>\n\u003cfigure id=\"attachment_13959463\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-scaled.jpg\" alt=\"Plywood tower with three screens showing stills from video tour of closed school\" width=\"1920\" height=\"2560\" class=\"size-full wp-image-13959463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5954_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘Closed for Business SFAI 2023,’ 2024. \u003ccite>(Chris Grunder/Casemore Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ran into Gunderson at the pancake breakfast, and we stood together, vicariously wandering the halls of what was once a pillar of the Bay Area’s art community. We both wept. I hadn’t seen inside the campus since it was boarded up a couple years ago, and it was almost exactly how I remembered it — except for the people who made it what it was.\u003c/p>\n\u003cp>The former campus was \u003ca href=\"https://hyperallergic.com/875608/nonprofit-led-by-steve-jobs-widow-acquires-san-francisco-art-institute-for-30m/\">recently purchased\u003c/a> by a group of investors led by philanthropist Laurene Powell Jobs, widow of the late Steve Jobs and a major player in funding the construction of \u003ca href=\"https://www.kqed.org/news/11987138/california-forever-hands-out-500k-to-solano-nonprofits-ahead-of-november-election\">a “tech utopia” in Solano county\u003c/a>. Powell Jobs and her advisory board have announced intentions to renovate the campus, but retain its purpose as some sort of arts institution.\u003c/p>\n\u003cp>This acquisition feels like too little too late for White. “[SFAI] could have been saved by the same person who bought it,” she said. “The legacy is broken.” As much as \u003cem>Closed for Business\u003c/em> is about remembering the school, it’s also — like all grieving — about letting it go.\u003c/p>\n\u003cfigure id=\"attachment_13959457\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000.jpg\" alt=\"gallery with gray-painted back wall, sculpture and wall works\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13959457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024_05_30_CK5998_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Fantastico!’ with ‘Academic Affairs,’ the painted back wall. \u003ccite>(Chris Grunder/Casemore Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concurrent with the exhibition is the publication of White’s book \u003cem>\u003ca href=\"https://www.colpapress.com/products/what-is-art-lindsey-white-anonymous\">What? Is? Art?\u003c/a>\u003c/em>, which features photographs taken inside SFAI and essays by anonymous professors in higher arts education. The authors bemoan the unrealistic expectations put on educators, the lack of fair compensation and the horrors of academic bureaucracy. While these stories elucidate the precarious state of higher education, the issues in both the book and \u003cem>Fantastico!\u003c/em> extend well beyond academia. American politics, too, are often bogged down in the unbelievable. Increasing censorship and limits to autonomy combine into what often feels like a farcical clown show.\u003c/p>\n\u003cp>The wall-hanging artwork \u003cem>FORCES OF EVIL IN A BOZO NIGHTMARE\u003c/em> features the titular slogan (and Beck lyric) written in capital letters around the frame of a mirror, shattered in places to reveal a brick wall behind it. The motif of the wall is repeated elsewhere in the show, especially prominently in the conceptual painting \u003cem>Academic Affairs\u003c/em>. While the piece’s slate gray wall visually references SFAI’s architecture, it also brings to mind the literal stonewalling of professors and students common in convoluted academic bureaucracies.\u003c/p>\n\u003cfigure id=\"attachment_13959458\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-scaled.jpg\" alt=\"Framed work with 'shattered' sections of scratched mirror revealing brick wall\" width=\"1920\" height=\"2560\" class=\"size-full wp-image-13959458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-05-30-14.11.30_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey White, ‘FORCES OF EVIL IN A BOZO NIGHTMARE.’ \u003ccite>(Chris Grunder/Casemore Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tiny toy dogs, collectively titled \u003cem>Naysayers\u003c/em>, dot the walls of the gallery, holding signs in their droopy mouths with messages like “Promote yourself,” “That’s life!” and “Expendable.” A larger, animatronic dog croons Frank Sinatra’s “My Way” from the mouth of a Halloween mask. These institutional watchdogs do more watching than hounding, sitting by forlornly while the forces of evil take their course. The Sinatra soundtrack, ambient throughout the exhibition, rings like a cautionary tale to those who dare stand up for themselves.\u003c/p>\n\u003cp>But we needn’t do so alone. Looking around the opening of \u003cem>Fantastico!\u003c/em> I was reminded why I still call San Francisco home. It’s the same reason White moved back.\u003c/p>\n\u003cp>“There are a lot of incredible people here,” she said.\u003c/p>\n\u003cp>We may be in a bozo nightmare, but we’re in it together, watching the dark dramedy unfold.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fantastico!’ is on view at Casemore Gallery (1275 Minnesota St., San Francisco) through July 13, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959443/lindsey-white-fantastico-casemore-gallery-review",
"authors": [
"11917"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10278",
"arts_769",
"arts_585"
],
"featImg": "arts_13959455",
"label": "arts_140"
},
"arts_13959414": {
"type": "posts",
"id": "arts_13959414",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959414",
"score": null,
"sort": [
1717711048000
]
},
"guestAuthors": [],
"slug": "d-day-new-book-when-the-sea-came-alive-review-wwii",
"title": "‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion",
"publishDate": 1717711048,
"format": "aside",
"headTitle": "‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13959417\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png\" alt=\"A book cover showing soldiers crowded into the back of a boat during World War II.\" width=\"884\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-800x1097.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-768x1053.png 768w\" sizes=\"auto, (max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff. \u003ccite>(Blackstone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Writing about the Allied invasion of Normandy, Garrett M. Graff is treading onto familiar history with his latest book.\u003c/p>\n\u003cp>From books by historian Stephen Ambrose to films like Steven Spielberg’s \u003cem>Saving Private Ryan\u003c/em>, there’s ample works chronicling the June 6, 1944, landing during World War II that ultimately led to the downfall of Nazi Germany.\u003c/p>\n\u003cp>[aside postid='arts_13959163']But in \u003cem>When The Sea Came Alive: An Oral History of D-Day\u003c/em>, Graff weaves together hundreds of eyewitness accounts to create a history that stands alongside those works, expanding readers’ understanding of D-Day and offering a new, complete portrait in time for the 80th anniversary commemorations.\u003c/p>\n\u003cp>The oral history begins with a look at the planning of the operation, going back to 1943, and the buildup of personnel and equipment in the months leading up to the operation.\u003c/p>\n\u003cp>Graff uses a wide array and diversity of voices that give a fuller picture of the lead-up to the invasion, as well as the fighting itself. The book excels in highlighting the experiences of Black soldiers who landed on D-Day beaches and women who were part of the story, such as correspondent Martha Gellhorn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it should come as no surprise that the most harrowing portions of the book remain the landing and the battles that occurred on D-Day itself, with vivid first-hand accounts. Graff skills at sifting through the accounts and documents propel the action throughout the book.\u003c/p>\n\u003cp>Graff’s book is a testimony to the value in preserving memories from grand historical events, demonstrating how much can be unearthed from even the most familiar stories.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff is out now, via Blackstone.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Garrett M. Graff's new book offers a new, complete portrait just in time for the 80th anniversary commemorations.",
"status": "publish",
"parent": 0,
"modified": 1741715547,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 317
},
"headData": {
"title": "Book Review: ‘When The Sea Came Alive’ by Garrett M. Graff | KQED",
"description": "Garrett M. Graff's new book offers a new, complete portrait just in time for the 80th anniversary commemorations.",
"ogTitle": "‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘When The Sea Came Alive’ by Garrett M. Graff%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion",
"datePublished": "2024-06-06T14:57:28-07:00",
"dateModified": "2025-03-11T10:52:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew DeMillo, Associated Press",
"nprStoryId": "kqed-13959414",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13959414/d-day-new-book-when-the-sea-came-alive-review-wwii",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959417\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png\" alt=\"A book cover showing soldiers crowded into the back of a boat during World War II.\" width=\"884\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-800x1097.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-768x1053.png 768w\" sizes=\"auto, (max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff. \u003ccite>(Blackstone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Writing about the Allied invasion of Normandy, Garrett M. Graff is treading onto familiar history with his latest book.\u003c/p>\n\u003cp>From books by historian Stephen Ambrose to films like Steven Spielberg’s \u003cem>Saving Private Ryan\u003c/em>, there’s ample works chronicling the June 6, 1944, landing during World War II that ultimately led to the downfall of Nazi Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13959163",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But in \u003cem>When The Sea Came Alive: An Oral History of D-Day\u003c/em>, Graff weaves together hundreds of eyewitness accounts to create a history that stands alongside those works, expanding readers’ understanding of D-Day and offering a new, complete portrait in time for the 80th anniversary commemorations.\u003c/p>\n\u003cp>The oral history begins with a look at the planning of the operation, going back to 1943, and the buildup of personnel and equipment in the months leading up to the operation.\u003c/p>\n\u003cp>Graff uses a wide array and diversity of voices that give a fuller picture of the lead-up to the invasion, as well as the fighting itself. The book excels in highlighting the experiences of Black soldiers who landed on D-Day beaches and women who were part of the story, such as correspondent Martha Gellhorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it should come as no surprise that the most harrowing portions of the book remain the landing and the battles that occurred on D-Day itself, with vivid first-hand accounts. Graff skills at sifting through the accounts and documents propel the action throughout the book.\u003c/p>\n\u003cp>Graff’s book is a testimony to the value in preserving memories from grand historical events, demonstrating how much can be unearthed from even the most familiar stories.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff is out now, via Blackstone.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959414/d-day-new-book-when-the-sea-came-alive-review-wwii",
"authors": [
"byline_arts_13959414"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_7862",
"arts_1564"
],
"tags": [
"arts_22296",
"arts_769",
"arts_585",
"arts_3038"
],
"featImg": "arts_13959417",
"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": 384,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_13959801",
"arts_13959775",
"arts_13959693",
"arts_13959670",
"arts_13959635",
"arts_13959375",
"arts_13959601",
"arts_13959530",
"arts_13959515",
"arts_13959459",
"arts_13959443",
"arts_13959414"
],
"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"
},
"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_9830": {
"type": "terms",
"id": "arts_9830",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9830",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Holocaust",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Holocaust Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9842,
"slug": "holocaust",
"isLoading": false,
"link": "/arts/tag/holocaust"
},
"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_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_9054": {
"type": "terms",
"id": "arts_9054",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9054",
"found": true
},
"relationships": {},
"featImg": null,
"name": "memoir",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "memoir Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9066,
"slug": "memoir",
"isLoading": false,
"link": "/arts/tag/memoir"
},
"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_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_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_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_5221": {
"type": "terms",
"id": "arts_5221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fiction",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fiction Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5233,
"slug": "fiction",
"isLoading": false,
"link": "/arts/tag/fiction"
},
"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_6028": {
"type": "terms",
"id": "arts_6028",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6028",
"found": true
},
"relationships": {},
"featImg": null,
"name": "novel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "novel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6040,
"slug": "novel",
"isLoading": false,
"link": "/arts/tag/novel"
},
"arts_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"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_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_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_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_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_4330": {
"type": "terms",
"id": "arts_4330",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4330",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sex work",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sex work Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4342,
"slug": "sex-work",
"isLoading": false,
"link": "/arts/tag/sex-work"
},
"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_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_22115": {
"type": "terms",
"id": "arts_22115",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22115",
"found": true
},
"relationships": {},
"featImg": null,
"name": "biography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "biography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22127,
"slug": "biography",
"isLoading": false,
"link": "/arts/tag/biography"
},
"arts_1050": {
"type": "terms",
"id": "arts_1050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "interview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "interview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1067,
"slug": "interview",
"isLoading": false,
"link": "/arts/tag/interview"
},
"arts_4566": {
"type": "terms",
"id": "arts_4566",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4566",
"found": true
},
"relationships": {},
"featImg": null,
"name": "literature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "literature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4578,
"slug": "literature",
"isLoading": false,
"link": "/arts/tag/literature"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_22004": {
"type": "terms",
"id": "arts_22004",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22004",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Paris",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Paris Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22016,
"slug": "paris",
"isLoading": false,
"link": "/arts/tag/paris"
},
"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_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
}
},
"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": {}
}
}
}