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_13951153": {
"type": "attachments",
"id": "arts_13951153",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951153",
"found": true
},
"parent": 13951144,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-160x110.png",
"width": 160,
"mimeType": "image/png",
"height": 110
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-e1706564828684.png",
"width": 1920,
"height": 1319
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-2048x1407.png",
"width": 2048,
"mimeType": "image/png",
"height": 1407
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-1020x701.png",
"width": 1020,
"mimeType": "image/png",
"height": 701
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-1536x1055.png",
"width": 1536,
"mimeType": "image/png",
"height": 1055
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-1920x1319.png",
"width": 1920,
"mimeType": "image/png",
"height": 1319
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-800x550.png",
"width": 800,
"mimeType": "image/png",
"height": 550
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.46.16-PM-768x528.png",
"width": 768,
"mimeType": "image/png",
"height": 528
}
},
"publishDate": 1706564801,
"modified": 1706571623,
"caption": "Patrick Swayze in ‘Road House’ being shirtless and moist, as he is for most of the movie.",
"description": null,
"title": "Patrick Swayze in ‘Road House’ being shirtless and moist, as he is for most of the movie.",
"credit": "United Artists",
"status": "inherit",
"altTag": "A shirtless white man practices tai chi outdoors.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951416": {
"type": "attachments",
"id": "arts_13951416",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951416",
"found": true
},
"parent": 13951379,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-20_COVER-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1706824141,
"modified": 1706824240,
"caption": "Rodrigo Hernández, 'I would not think to touch the sky with two arms,' 2023 in 'with what eyes?' at the CCA Wattis Institute.",
"description": null,
"title": "RH_with-what-eyes-20_COVER",
"credit": "Nicholas Bruno",
"status": "inherit",
"altTag": "Simplified, hollow metal sculpture of chimpanzee's head resting on its side on folded cloth",
"isLoading": false,
"fetchFailed": false
},
"arts_13951375": {
"type": "attachments",
"id": "arts_13951375",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951375",
"found": true
},
"parent": 13951374,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-scaled-e1706818459378.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1706817617,
"modified": 1706818525,
"caption": "Donald Glover and Maya Erskine star as John and Jane in ‘Mr. & Mrs. Smith.’",
"description": null,
"title": "Donald Glover and Maya Erskine star as John and Jane in ‘Mr. & Mrs. Smith.’",
"credit": "David Lee/ Prime Video",
"status": "inherit",
"altTag": "A Black man and Asian woman lie on the floor, face to face and very close.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951353": {
"type": "attachments",
"id": "arts_13951353",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951353",
"found": true
},
"parent": 13951349,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-160x98.png",
"width": 160,
"mimeType": "image/png",
"height": 98
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM.png",
"width": 1846,
"height": 1130
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-1020x624.png",
"width": 1020,
"mimeType": "image/png",
"height": 624
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-1536x940.png",
"width": 1536,
"mimeType": "image/png",
"height": 940
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-800x490.png",
"width": 800,
"mimeType": "image/png",
"height": 490
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-01-at-11.24.23-AM-768x470.png",
"width": 768,
"mimeType": "image/png",
"height": 470
}
},
"publishDate": 1706815553,
"modified": 1706815669,
"caption": "Aaron Pierre as Malcolm X in a scene from ‘Genius: MLK/X.’ ",
"description": null,
"title": "Aaron Pierre as Malcolm X in a scene from ‘Genius: MLK/X.’",
"credit": "Richard DuCree/ National Geographic via AP",
"status": "inherit",
"altTag": "A Black man wearing spectacles and a 1950s-style suit and overcoat stands looking serious in a hallway. Two men wearing bowties stand behind him.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951277": {
"type": "attachments",
"id": "arts_13951277",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951277",
"found": true
},
"parent": 13951260,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_KamilaMroz_WellDone_CJM_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1706658171,
"modified": 1706658629,
"caption": "Kamila Mróz, 'Well Done—What Was the Cost?' 2023.",
"description": null,
"title": "02_KamilaMroz_WellDone_CJM_COVER",
"credit": "Courtesy of the Contemporary Jewish Museum",
"status": "inherit",
"altTag": "Clear glass sculpture of crown of leaves against black backdrop with green electrical current running through",
"isLoading": false,
"fetchFailed": false
},
"arts_13951220": {
"type": "attachments",
"id": "arts_13951220",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951220",
"found": true
},
"parent": 13951218,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1.jpg",
"width": 1412,
"height": 794
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1706640805,
"modified": 1706643063,
"caption": "Naomi Watts plays Babe Paley and Tom Hollander is Truman Capote in ‘Feud: Capote Vs. the Swans.’",
"description": null,
"title": "Naomi Watts plays Babe Paley and Tom Hollander is Truman Capote in ‘Feud: Capote Vs. the Swans.’",
"credit": "FX",
"status": "inherit",
"altTag": "A balding man with glasses wearing a tuxedo reaches out to a woman sitting on a plush couch.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951138": {
"type": "attachments",
"id": "arts_13951138",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951138",
"found": true
},
"parent": 13951126,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM.png",
"width": 1760,
"height": 1122
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-1020x650.png",
"width": 1020,
"mimeType": "image/png",
"height": 650
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-1536x979.png",
"width": 1536,
"mimeType": "image/png",
"height": 979
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-800x510.png",
"width": 800,
"mimeType": "image/png",
"height": 510
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-10.23.52-AM-768x490.png",
"width": 768,
"mimeType": "image/png",
"height": 490
}
},
"publishDate": 1706552718,
"modified": 1706552791,
"caption": "Huey Lewis, Quincy Jones and Michael Jackson in a moment from ‘The Greatest Night in Pop.’ ",
"description": null,
"title": "Huey Lewis, Quincy Jones and Michael Jackson in a moment from ‘The Greatest Night in Pop.’",
"credit": "Netflix via AP",
"status": "inherit",
"altTag": "Two white men and two Black men gather around sheet music inside a recording studio.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951068": {
"type": "attachments",
"id": "arts_13951068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951068",
"found": true
},
"parent": 13951067,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-e1706297936359.jpg",
"width": 1920,
"height": 1439
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-2048x1535.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1535
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1536x1151.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1151
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1706297166,
"modified": 1706298094,
"caption": "Callum Turner in ‘Masters of the Air.’",
"description": null,
"title": "Callum Turner in ‘Masters of the Air.’",
"credit": "Apple TV+",
"status": "inherit",
"altTag": "A 1940s-era American pilot stands smiling on the tarmac.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951061": {
"type": "attachments",
"id": "arts_13951061",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951061",
"found": true
},
"title": "2324concerts_012524mttmahler_stefancohen_025",
"publishDate": 1706297102,
"status": "inherit",
"parent": 0,
"modified": 1776958738,
"caption": "Michael Tilson Thomas stands for a seven-minute standing ovation at the close of the San Francisco Symphony's performance of Mahler's Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. ",
"credit": "Stefan Cohen",
"altTag": "Michael Tilson Thomas stands for a seven-minute standing ovation at the close of the San Francisco Symphony's performance of Mahler's Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-800x534.jpg",
"width": 800,
"height": 534,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-1020x681.jpg",
"width": 1020,
"height": 681,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-768x513.jpg",
"width": 768,
"height": 513,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-2048x1367.jpg",
"width": 2048,
"height": 1367,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-1920x1281.jpg",
"width": 1920,
"height": 1281,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_025-scaled.jpg",
"width": 2560,
"height": 1708
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13950995": {
"type": "attachments",
"id": "arts_13950995",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950995",
"found": true
},
"parent": 13950994,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e.jpg",
"width": 1043,
"height": 782
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1706216057,
"modified": 1706218162,
"caption": "Naíma Sentíes and Montserrat Marañon in ‘Tótem.’",
"description": null,
"title": "Naíma Sentíes and Montserrat Marañon in Tótem.",
"credit": "Limerencia",
"status": "inherit",
"altTag": "A sickly looking person with a shaved head holds a small girl. The child is smiling.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950969": {
"type": "attachments",
"id": "arts_13950969",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950969",
"found": true
},
"parent": 13950961,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969-160x107.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969.jpeg",
"width": 1280,
"height": 854
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969-1020x681.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 681
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969-800x534.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/KOOZA_04_Contorsion_0969-768x512.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1706207468,
"modified": 1706211222,
"caption": "Contortionists Sunderiya Jargalsaikhan, Ninjin Altankhuyag and Sender Enkhtur, all of Mongolia, perform in Cirque du Soleil's 'Kooza.'",
"description": null,
"title": "KOOZA_04_Contorsion_0969",
"credit": "Matt Beard & Bernard Letendre",
"status": "inherit",
"altTag": "Three women in leotards contorting their bodies into a balancing pose.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950975": {
"type": "attachments",
"id": "arts_13950975",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950975",
"found": true
},
"parent": 13950974,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-scaled-e1706211747409.jpg",
"width": 1920,
"height": 1281
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-2048x1366.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1366
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1536x1025.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1025
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1706210971,
"modified": 1706211857,
"caption": "Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.",
"description": null,
"title": "Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.",
"credit": "Prime Video",
"status": "inherit",
"altTag": "A slender middle aged white woman stands in a quiet dimly lit street. A figure lurks behind her.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13951374": {
"type": "authors",
"id": "byline_arts_13951374",
"meta": {
"override": true
},
"slug": "byline_arts_13951374",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13951349": {
"type": "authors",
"id": "byline_arts_13951349",
"meta": {
"override": true
},
"slug": "byline_arts_13951349",
"name": "Alicia Rancilio, Associated Press",
"isLoading": false
},
"byline_arts_13951218": {
"type": "authors",
"id": "byline_arts_13951218",
"meta": {
"override": true
},
"slug": "byline_arts_13951218",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13951126": {
"type": "authors",
"id": "byline_arts_13951126",
"meta": {
"override": true
},
"slug": "byline_arts_13951126",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13951067": {
"type": "authors",
"id": "byline_arts_13951067",
"meta": {
"override": true
},
"slug": "byline_arts_13951067",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13950994": {
"type": "authors",
"id": "byline_arts_13950994",
"meta": {
"override": true
},
"slug": "byline_arts_13950994",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13950974": {
"type": "authors",
"id": "byline_arts_13950974",
"meta": {
"override": true
},
"slug": "byline_arts_13950974",
"name": "Linda Holmes",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"aproehl": {
"type": "authors",
"id": "11296",
"meta": {
"index": "authors_1716337520",
"id": "11296",
"found": true
},
"name": "Ariana Proehl",
"firstName": "Ariana",
"lastName": "Proehl",
"slug": "aproehl",
"email": "aproehl@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Culture Reporter, KQED",
"bio": "Ariana Proehl is a Culture Reporter and Host.",
"avatar": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twitter": "ArianaProehl",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "education",
"roles": []
},
{
"site": "forum",
"roles": []
}
],
"headData": {
"title": "Ariana Proehl | KQED",
"description": "Culture Reporter, KQED",
"ogImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aproehl"
},
"twalsh": {
"type": "authors",
"id": "11696",
"meta": {
"index": "authors_1716337520",
"id": "11696",
"found": true
},
"name": "Theadora Walsh",
"firstName": "Theadora",
"lastName": "Walsh",
"slug": "twalsh",
"email": "theadora.walsh@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Theadora Walsh is a writer and digital artist. She has contributed criticism to Art Papers, SFMOMA's Open Space, BOMB, Hyperallergic, and elsewhere.",
"avatar": "https://secure.gravatar.com/avatar/f933ebf68ddf31c7a828c5671bd7af03?s=600&d=blank&r=g",
"twitter": "theadora_tm",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Theadora Walsh | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/f933ebf68ddf31c7a828c5671bd7af03?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f933ebf68ddf31c7a828c5671bd7af03?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/twalsh"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307813
},
"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": 43
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 43
}
},
{
"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_13951144": {
"type": "posts",
"id": "arts_13951144",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951144",
"score": null,
"sort": [
1706887629000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1706887629,
"format": "standard",
"title": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie",
"headTitle": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie | KQED",
"content": "\u003cp>There’s a new version of \u003cem>Road House\u003c/em> on the horizon, starring Taylor Swift’s Meanest Ex-Boyfriend (\u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\">Jake Gyllenhaal\u003c/a>) and the Most Irritating Man Alive (Conor McGregor).\u003c/p>\n\u003cp>I know.\u003c/p>\n\u003cp>Are there any good reasons to remake this 1989 Patrick Swayze classic? Absolutely not. Will it be as preposterous as the original? Based on \u003ca href=\"https://www.youtube.com/watch?v=Y0ZsLudtfjI\">the trailer\u003c/a>, in which someone can be seen getting attacked by an alligator, it might actually be as off-the-charts unhinged as the first one was. At the very least, the new one promises to be a bit more diverse (not a massive challenge, admittedly) with Jessica Williams as a bar owner and Arturo Castro (Jaimé from \u003cem>Broad City\u003c/em>!) as a brawler.\u003c/p>\n\u003cp>The new version drops on Prime Video on March 21, so now seems like a good time to talk about the original \u003cem>Road House\u003c/em> in (a possibly unnecessary amount of) detail. You know — for people too young to have heard of this movie. And people who saw it a long time ago but are unwilling to sit inside that much testosterone ever again. And people who want to hear about the highlights without having to watch Patrick Swayze silently observing bar patrons for several minutes at a time.\u003c/p>\n\u003ch2>What is the 1989 ‘Road House’ about?\u003c/h2>\n\u003cp>\u003cem>Road House\u003c/em> is about Dalton (played wirily by P. Swizzle), a nightclub security expert who has a degree in philosophy and also enjoys stitching up his own knife wounds without pain medication. Like a Real Man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One night, Dalton is approached by a dude in a turquoise bolo tie named Frank Tilghman. Tilghman owns a rural Missouri bar named the Double Deuce that he describes as “the kind of place where they sweep up the eyeballs after closing.” Dalton agrees to help clean up the joint for $5,000 up front, $500 a night and medical expenses. (I feel like that’s maybe all of the money this bar would even have on hand, but cool, sure, whatever.)\u003c/p>\n\u003cfigure id=\"attachment_13951168\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-2.27.49-PM-e1706567371368.png\" alt=\"A white man standing in front of chicken wire laughs while talking to another man. They are indoors and it is smokey.\" width=\"1920\" height=\"1212\">\u003cfigcaption class=\"wp-caption-text\">‘Wanna hear about the time I killed a guy?’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in town, Dalton moves into a barn (naturally) where he can do oily tai chi down by the river and sex to ladies on his flat roof. Across the river lives Evil Rich Stereotype Guy Brad Wesley who startles horses with his helicopter and extorts money out of every business in town. Soon, Dalton and Wesley are in an escalating war in which multiple buildings get inexplicably blown up and many, \u003cem>many\u003c/em> faces get punched.\u003c/p>\n\u003cp>[aside postid='arts_13939927']At the bar, Dalton does a bunch of reorganizing and says things like, “I’m telling you straight. It’s my way or the highway.” At one point he announces: “We’ve got entirely too many troublemakers here. Too many 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry.” (Don’t threaten me with a good time, Dalton!) Dalton is an excellent security guy but is absolutely abysmal at trash talk. “You’re too stupid to have a good time!” he yells before promptly breaking one guy’s ankle. (Is this really the best you can do with a philosophy degree, sir?)\u003c/p>\n\u003cp>Halfway through the movie, Dalton’s best friend Wade Garrett shows up. Wade is played by Sam Elliott looking like a sexy, white, salt-and-pepper Jesus. Soon, he too is embroiled in the feud.\u003c/p>\n\u003cfigure id=\"attachment_13951155\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.50.51-PM-e1706565197647.png\" alt=\"A man with shaggy salt and pepper hair and stubble rests one arm on his head and looks forward.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Multiple people refer to Sam Elliott as ‘old man’ throughout ‘Road House’ and I’m sorry, what now? \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How silly is it?\u003c/h2>\n\u003cp>Here are some things that happen in \u003cem>Road House\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>A monster truck drives over (and destroys) an entire showroom’s worth of cars\u003c/li>\n\u003cli>A man’s throat is ripped out, by hand\u003c/li>\n\u003cli>A man gets knocked out by a taxidermied polar bear (you heard me)\u003c/li>\n\u003cli>A Mercedes bursts into flames in midair for absolutely no reason\u003c/li>\n\u003cli>Everyone at the Double Deuce has heard of Dalton and Garrett before they get to town and are awed by their arrival even though they’re literally just out-of-state bouncers\u003c/li>\n\u003cli>Despite being haunted for many years about killing a man in self defense, Dalton, towards the end of this movie, goes on what basically amounts to a gleeful killing spree\u003c/li>\n\u003cli>A doctor willingly staples up a wound on Dalton’s side without anesthesia, like litigation doesn’t exist\u003c/li>\n\u003cli>A series of violent deaths are never investigated by anyone because four townspeople, all visibly holding guns, say they “didn’t see nothin’.” Cool\u003c/li>\n\u003c/ul>\n\u003ch2>Has it stood the test of time?\u003c/h2>\n\u003cp>Oh, dear sweet Christ, no. \u003cem>Road House\u003c/em> is a blaring, albeit hilarious, time capsule of ’80s braggadocio in which everyone has way too much hairspray in their bangs, way too much arm-waving in their dance moves and way too many cigarettes in their mouths.\u003c/p>\n\u003cp>[aside postid='pop_107664']This is a movie in which the villain of the thing, even though he’s trying to kill people left and right, is about as convincingly threatening as Judge Smails in \u003cem>Caddyshack\u003c/em> or Mr. Vernon in \u003cem>The Breakfast Club\u003c/em>.\u003c/p>\n\u003cp>This is a movie in which 99% of women look like they just wandered in from a Whitesnake video shoot. Naturally, most of their personalities don’t extend beyond wanting to be topless in the bar. And who can blame them? The number of breast implants present in this small, blue collar Missouri town is truly astounding. (The phrase “male gaze” does not sufficiently describe how many lingering cropped shots of cleavage and butts there are in this thing. But the man who directed this movie is named Rowdy Herrington, so okay then.)\u003c/p>\n\u003cfigure id=\"attachment_13951151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.41.15-PM-e1706564637332.png\" alt=\"A tan blonde woman looks upwards.\" width=\"1920\" height=\"1305\">\u003cfigcaption class=\"wp-caption-text\">‘Road House’: Awash with crunchy hair outcrops like these, worn by Kelly Lynch as Doc. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the other ’80s aesthetics, Dalton’s pants are often insanely high (like, 1940s-high), rough customers are frequently dressed exactly like \u003cem>Born in the USA\u003c/em>-era Bruce Springsteen, and the mark of success in the bar is measured by how much jaunty neon signage pops up and how much beige Dalton is willing to wear to work.\u003c/p>\n\u003ch2>Should I watch this nonsense?\u003c/h2>\n\u003cp>If you want to see a half-naked Patrick Swayze flinging his slippery body at moving motorcycles, off the top of buildings and onto other humans with wild abandon, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>If you want to see Sam Elliott wearing his hair in \u003ca href=\"https://tenor.com/view/sam-dalton-fix-hair-handsome-hot-gif-15959971\">the only successfully sultry man bun in history\u003c/a>, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_97337']If you enjoy scissor-kicking and wanton violence, you should watch \u003cem>Road House.\u003c/em>\u003c/p>\n\u003cp>If you want to revel in how far we’ve come as a culture in terms of flagrant on-screen sexism, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>Finally, if you’re planning on seeing the new \u003cem>Road House\u003c/em>, you really owe it to the original to start there. Especially since some of the first script is getting recycled — “Nobody ever wins a fight” has definitely carried over. If the most famous line in the original movie — concerning nonconsensual physical acts between incarcerated people — makes it into the new one, it will be a miracle.\u003c/p>\n\u003cp>Stay safe out there, friends — and do like Dalton and \u003cem>be nice\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YH3BMICpXyA\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The original ‘Road House’ is currently streaming on \u003ca href=\"https://www.max.com/movies/road-house/a93af03d-6423-4915-bc20-546abdd63f74\">Max\u003c/a>. The new version will hit Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1279,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1707099744,
"excerpt": "Jake Gyllenhaal and Conor McGregor star in a soon-to-be released update, so let’s revisit the 1989 original.",
"headData": {
"twImgId": "",
"twTitle": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie",
"socialTitle": "Revisit Patrick Swayze’s ‘Road House’ Before the Reboot %%page%% %%sep%% KQED",
"ogTitle": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie",
"ogImgId": "",
"twDescription": "",
"description": "Jake Gyllenhaal and Conor McGregor star in a soon-to-be released update, so let’s revisit the 1989 original.",
"title": "Revisit Patrick Swayze’s ‘Road House’ Before the Reboot | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie",
"datePublished": "2024-02-02T07:27:09-08:00",
"dateModified": "2024-02-04T18:22:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "road-house-original-streaming-patrick-swayze-1989-action",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a new version of \u003cem>Road House\u003c/em> on the horizon, starring Taylor Swift’s Meanest Ex-Boyfriend (\u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\">Jake Gyllenhaal\u003c/a>) and the Most Irritating Man Alive (Conor McGregor).\u003c/p>\n\u003cp>I know.\u003c/p>\n\u003cp>Are there any good reasons to remake this 1989 Patrick Swayze classic? Absolutely not. Will it be as preposterous as the original? Based on \u003ca href=\"https://www.youtube.com/watch?v=Y0ZsLudtfjI\">the trailer\u003c/a>, in which someone can be seen getting attacked by an alligator, it might actually be as off-the-charts unhinged as the first one was. At the very least, the new one promises to be a bit more diverse (not a massive challenge, admittedly) with Jessica Williams as a bar owner and Arturo Castro (Jaimé from \u003cem>Broad City\u003c/em>!) as a brawler.\u003c/p>\n\u003cp>The new version drops on Prime Video on March 21, so now seems like a good time to talk about the original \u003cem>Road House\u003c/em> in (a possibly unnecessary amount of) detail. You know — for people too young to have heard of this movie. And people who saw it a long time ago but are unwilling to sit inside that much testosterone ever again. And people who want to hear about the highlights without having to watch Patrick Swayze silently observing bar patrons for several minutes at a time.\u003c/p>\n\u003ch2>What is the 1989 ‘Road House’ about?\u003c/h2>\n\u003cp>\u003cem>Road House\u003c/em> is about Dalton (played wirily by P. Swizzle), a nightclub security expert who has a degree in philosophy and also enjoys stitching up his own knife wounds without pain medication. Like a Real Man.\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>One night, Dalton is approached by a dude in a turquoise bolo tie named Frank Tilghman. Tilghman owns a rural Missouri bar named the Double Deuce that he describes as “the kind of place where they sweep up the eyeballs after closing.” Dalton agrees to help clean up the joint for $5,000 up front, $500 a night and medical expenses. (I feel like that’s maybe all of the money this bar would even have on hand, but cool, sure, whatever.)\u003c/p>\n\u003cfigure id=\"attachment_13951168\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-2.27.49-PM-e1706567371368.png\" alt=\"A white man standing in front of chicken wire laughs while talking to another man. They are indoors and it is smokey.\" width=\"1920\" height=\"1212\">\u003cfigcaption class=\"wp-caption-text\">‘Wanna hear about the time I killed a guy?’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in town, Dalton moves into a barn (naturally) where he can do oily tai chi down by the river and sex to ladies on his flat roof. Across the river lives Evil Rich Stereotype Guy Brad Wesley who startles horses with his helicopter and extorts money out of every business in town. Soon, Dalton and Wesley are in an escalating war in which multiple buildings get inexplicably blown up and many, \u003cem>many\u003c/em> faces get punched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13939927",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At the bar, Dalton does a bunch of reorganizing and says things like, “I’m telling you straight. It’s my way or the highway.” At one point he announces: “We’ve got entirely too many troublemakers here. Too many 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry.” (Don’t threaten me with a good time, Dalton!) Dalton is an excellent security guy but is absolutely abysmal at trash talk. “You’re too stupid to have a good time!” he yells before promptly breaking one guy’s ankle. (Is this really the best you can do with a philosophy degree, sir?)\u003c/p>\n\u003cp>Halfway through the movie, Dalton’s best friend Wade Garrett shows up. Wade is played by Sam Elliott looking like a sexy, white, salt-and-pepper Jesus. Soon, he too is embroiled in the feud.\u003c/p>\n\u003cfigure id=\"attachment_13951155\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.50.51-PM-e1706565197647.png\" alt=\"A man with shaggy salt and pepper hair and stubble rests one arm on his head and looks forward.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Multiple people refer to Sam Elliott as ‘old man’ throughout ‘Road House’ and I’m sorry, what now? \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How silly is it?\u003c/h2>\n\u003cp>Here are some things that happen in \u003cem>Road House\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>A monster truck drives over (and destroys) an entire showroom’s worth of cars\u003c/li>\n\u003cli>A man’s throat is ripped out, by hand\u003c/li>\n\u003cli>A man gets knocked out by a taxidermied polar bear (you heard me)\u003c/li>\n\u003cli>A Mercedes bursts into flames in midair for absolutely no reason\u003c/li>\n\u003cli>Everyone at the Double Deuce has heard of Dalton and Garrett before they get to town and are awed by their arrival even though they’re literally just out-of-state bouncers\u003c/li>\n\u003cli>Despite being haunted for many years about killing a man in self defense, Dalton, towards the end of this movie, goes on what basically amounts to a gleeful killing spree\u003c/li>\n\u003cli>A doctor willingly staples up a wound on Dalton’s side without anesthesia, like litigation doesn’t exist\u003c/li>\n\u003cli>A series of violent deaths are never investigated by anyone because four townspeople, all visibly holding guns, say they “didn’t see nothin’.” Cool\u003c/li>\n\u003c/ul>\n\u003ch2>Has it stood the test of time?\u003c/h2>\n\u003cp>Oh, dear sweet Christ, no. \u003cem>Road House\u003c/em> is a blaring, albeit hilarious, time capsule of ’80s braggadocio in which everyone has way too much hairspray in their bangs, way too much arm-waving in their dance moves and way too many cigarettes in their mouths.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_107664",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This is a movie in which the villain of the thing, even though he’s trying to kill people left and right, is about as convincingly threatening as Judge Smails in \u003cem>Caddyshack\u003c/em> or Mr. Vernon in \u003cem>The Breakfast Club\u003c/em>.\u003c/p>\n\u003cp>This is a movie in which 99% of women look like they just wandered in from a Whitesnake video shoot. Naturally, most of their personalities don’t extend beyond wanting to be topless in the bar. And who can blame them? The number of breast implants present in this small, blue collar Missouri town is truly astounding. (The phrase “male gaze” does not sufficiently describe how many lingering cropped shots of cleavage and butts there are in this thing. But the man who directed this movie is named Rowdy Herrington, so okay then.)\u003c/p>\n\u003cfigure id=\"attachment_13951151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.41.15-PM-e1706564637332.png\" alt=\"A tan blonde woman looks upwards.\" width=\"1920\" height=\"1305\">\u003cfigcaption class=\"wp-caption-text\">‘Road House’: Awash with crunchy hair outcrops like these, worn by Kelly Lynch as Doc. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the other ’80s aesthetics, Dalton’s pants are often insanely high (like, 1940s-high), rough customers are frequently dressed exactly like \u003cem>Born in the USA\u003c/em>-era Bruce Springsteen, and the mark of success in the bar is measured by how much jaunty neon signage pops up and how much beige Dalton is willing to wear to work.\u003c/p>\n\u003ch2>Should I watch this nonsense?\u003c/h2>\n\u003cp>If you want to see a half-naked Patrick Swayze flinging his slippery body at moving motorcycles, off the top of buildings and onto other humans with wild abandon, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>If you want to see Sam Elliott wearing his hair in \u003ca href=\"https://tenor.com/view/sam-dalton-fix-hair-handsome-hot-gif-15959971\">the only successfully sultry man bun in history\u003c/a>, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_97337",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>If you enjoy scissor-kicking and wanton violence, you should watch \u003cem>Road House.\u003c/em>\u003c/p>\n\u003cp>If you want to revel in how far we’ve come as a culture in terms of flagrant on-screen sexism, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>Finally, if you’re planning on seeing the new \u003cem>Road House\u003c/em>, you really owe it to the original to start there. Especially since some of the first script is getting recycled — “Nobody ever wins a fight” has definitely carried over. If the most famous line in the original movie — concerning nonconsensual physical acts between incarcerated people — makes it into the new one, it will be a miracle.\u003c/p>\n\u003cp>Stay safe out there, friends — and do like Dalton and \u003cem>be nice\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YH3BMICpXyA'\n title='//www.youtube.com/embed/YH3BMICpXyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The original ‘Road House’ is currently streaming on \u003ca href=\"https://www.max.com/movies/road-house/a93af03d-6423-4915-bc20-546abdd63f74\">Max\u003c/a>. The new version will hit Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_10493",
"arts_15246",
"arts_21913",
"arts_769"
],
"featImg": "arts_13951153",
"label": "arts"
},
"arts_13951379": {
"type": "posts",
"id": "arts_13951379",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951379",
"score": null,
"sort": [
1706825654000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706825654,
"format": "standard",
"title": "Humans Are Just Another Animal in a Dreamlike Wattis Show",
"headTitle": "Humans Are Just Another Animal in a Dreamlike Wattis Show | KQED",
"content": "\u003cp>Upon entering Rodrigo Hernández’s \u003cem>\u003ca href=\"https://wattis.org/our-program/on-view/rodrigo-hernandez\">with what eyes?\u003c/a>\u003c/em>, one is required immediately to navigate the show’s installation, a series of maze-like walls and enclosures, erected like stage props around Hernández’s sculptures and hand-hammered steel reliefs. \u003c/p>\n\u003cp>Here, the fabricated white walls seem cast as white walls, dwarfed amusingly by the Wattis’s warehouse exhibition space. The Mexico City-based artist has restructured the building to play at an art gallery, both investigating and exposing this peculiar brand of architecture.\u003c/p>\n\u003cp>Each of Hernández’s works are, from certain angles, obscured by the installed mise en scène. At the center of the exhibition, he has painted an elevated surface with nested rectangles rendered in semi-opaque, industrial colors. A passageway splits the painting in two.\u003c/p>\n\u003cfigure id=\"attachment_13951417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000.jpg\" alt=\"White walls and half walls divide space with passageway at center, painted horizontal surfaces visible\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Hernández, installation view of ‘with what eyes?,’ 2023. \u003ccite>(Nicholas Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think immediately of \u003ca href=\"https://www.albersfoundation.org/art/highlights?artists=josef-albers&page=1\">Josef Albers\u003c/a>, who I accidentally call Joseph Beuys, which Diego Villalobos, the show’s curator, notices and tactfully corrects. Villalobos suggests that in a Latin American context the sculpture might remind a visitor of the angular shadows and dense color fields of architect \u003ca href=\"https://www.barragan-foundation.org/works/career\">Luis Barrágan\u003c/a>. The composition is modern, holding all of modernism’s vague scientific implications.\u003c/p>\n\u003cp>While working on the exhibition, Hernández looked to the philosopher David Peña-Guzmán’s book \u003cem>\u003ca href=\"https://press.princeton.edu/books/hardcover/9780691220093/when-animals-dream\">When Animals Dream\u003c/a>\u003c/em> as inspiration. \u003cem>Do\u003c/em> animals dream? This question is Peña-Guzman’s sincere undertaking, and yet it is impossible to definitively answer. The metrics are wrong, the language doesn’t translate; we lack the capacity to speak to animals. This is not a question made in their terms. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To formalize such a query entails reducing information to its most basic components: What is an animal? What is a dream? \u003c/p>\n\u003cp>This ethos feels true of the exhibition as well, which leaves one wondering what exactly a sculpture is, what constitutes a painting, and how those categories ever got defined. The necessity of twisting and craning your body to see the works in \u003cem>with what eyes?\u003c/em> adds a time-based component to these questions, suturing frames and complicating narrative.\u003c/p>\n\u003cfigure id=\"attachment_13951418\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000.jpg\" alt=\"White wall with three embedded and lit metal reliefs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Hernández, installation view of ‘with what eyes?,’ 2023. \u003ccite>(Nicholas Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond Hernández’s architectural — and for me, quite philosophical — labyrinth are stainless-steel reliefs, embedded and lit within more of the installation’s white walls. In each relief, Hernández has cut long, bowing lines that sketch chimpanzees in various states of rest and anguish, the surfaces textured using an array of different-sized hammers. The effect touches on art history, briefly conjuring \u003ca href=\"https://www.moma.org/artists/1168\">Jean Cocteau’s line drawings\u003c/a>, but then eclipses that and stretches further back, to the mark making of early systems of language. \u003c/p>\n\u003cp>[aside postID='arts_13951260']Hernandez’s rhythmic hammering dapples the steel. During my visit, my striped blouse is disassembled by the stainless steel’s reflective quality, unraveling in microscopic patterns as I shift my weight from side to side. This hallucinatory animation plays out before a docile chimpanzee, gazing past me languidly, with bedroom eyes. And perhaps for the first time in my life, an artwork makes me feel shy.\u003c/p>\n\u003cp>I was surprised, then quickly convinced, when Villalobos told me that writer and playwright Anne Carson’s translation of Sappho’s fragments, \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/If_Not,_Winter\">If Not, Winter\u003c/a>\u003c/i> was another point of inspiration for Hernández.\u003c/p>\n\u003cp>Carson inserts brackets into her translation of Sappho’s poetry, of which only fragments remain, to hold space for lost or illegible portions. In her introduction, Carson suggests the brackets as “a sort of antipoem that condenses everything you ever wanted her to write.” Suddenly the white walls dividing Hernández’s exhibition, defining interiors and exteriors, are recast. They, like brackets, hold absence as a material.\u003c/p>\n\u003cfigure id=\"attachment_13951419\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18.jpg\" alt=\"Painting of bat's head resting on its wing on white wall\" width=\"1600\" height=\"1067\" class=\"size-full wp-image-13951419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Hernández, ‘you burn me,’ 2023. \u003ccite>(Nicholas Bruno )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On one of the Wattis’ far walls (which feels farther than usual due to Hernández’s added architectural elements), hangs a soft, simple painting of a bat with its head resting on bended wing. It’s rendered in a just-off manner, too self-possessed and unstylized to be a cartoon. At the same time, it’s too ethereal and perfect to be real. \u003c/p>\n\u003cp>The strange bat with its wide, omnipotent eyes undercuts the complexity of the exhibition. Suddenly, there’s an answer to that impossible question.\u003c/p>\n\u003cp>By taking literary material as a starting point for the physical and philosophical elements of his work, Hernández is able to focus, almost perfectly, on formal expression and inquiry. Embracing an indirect mode of expression, his work is personal, a sort of real-time staging of his own interpretations of Carson and Peña-Guzmán’s writing. At the same time, it endlessly invites other perspectives. Maybe \u003ci>with what eyes?\u003c/i> is the artist’s attempt at an “anti-show,” a show with space for everything you ever wanted him to make. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rodrigo Hernández’s ‘\u003ca href=\"https://wattis.org/our-program/on-view/rodrigo-hernandez\">with what eyes?\u003c/a>’ is on view at the CCA Wattis Institute for Contemporary Arts through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 895,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1706894351,
"excerpt": "In Rodrigo Hernández’s ‘with what eyes?,’ exhibition design and literary references pose philosophical questions.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In Rodrigo Hernández’s ‘with what eyes?,’ exhibition design and literary references pose philosophical questions.",
"title": "Humans Are Just Another Animal in a Dreamlike Wattis Show | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Humans Are Just Another Animal in a Dreamlike Wattis Show",
"datePublished": "2024-02-01T14:14:14-08:00",
"dateModified": "2024-02-02T09:19:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "with-what-eyes-rodrigo-hernandez-cca-wattis-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13951379/with-what-eyes-rodrigo-hernandez-cca-wattis-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Upon entering Rodrigo Hernández’s \u003cem>\u003ca href=\"https://wattis.org/our-program/on-view/rodrigo-hernandez\">with what eyes?\u003c/a>\u003c/em>, one is required immediately to navigate the show’s installation, a series of maze-like walls and enclosures, erected like stage props around Hernández’s sculptures and hand-hammered steel reliefs. \u003c/p>\n\u003cp>Here, the fabricated white walls seem cast as white walls, dwarfed amusingly by the Wattis’s warehouse exhibition space. The Mexico City-based artist has restructured the building to play at an art gallery, both investigating and exposing this peculiar brand of architecture.\u003c/p>\n\u003cp>Each of Hernández’s works are, from certain angles, obscured by the installed mise en scène. At the center of the exhibition, he has painted an elevated surface with nested rectangles rendered in semi-opaque, industrial colors. A passageway splits the painting in two.\u003c/p>\n\u003cfigure id=\"attachment_13951417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000.jpg\" alt=\"White walls and half walls divide space with passageway at center, painted horizontal surfaces visible\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-2_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Hernández, installation view of ‘with what eyes?,’ 2023. \u003ccite>(Nicholas Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think immediately of \u003ca href=\"https://www.albersfoundation.org/art/highlights?artists=josef-albers&page=1\">Josef Albers\u003c/a>, who I accidentally call Joseph Beuys, which Diego Villalobos, the show’s curator, notices and tactfully corrects. Villalobos suggests that in a Latin American context the sculpture might remind a visitor of the angular shadows and dense color fields of architect \u003ca href=\"https://www.barragan-foundation.org/works/career\">Luis Barrágan\u003c/a>. The composition is modern, holding all of modernism’s vague scientific implications.\u003c/p>\n\u003cp>While working on the exhibition, Hernández looked to the philosopher David Peña-Guzmán’s book \u003cem>\u003ca href=\"https://press.princeton.edu/books/hardcover/9780691220093/when-animals-dream\">When Animals Dream\u003c/a>\u003c/em> as inspiration. \u003cem>Do\u003c/em> animals dream? This question is Peña-Guzman’s sincere undertaking, and yet it is impossible to definitively answer. The metrics are wrong, the language doesn’t translate; we lack the capacity to speak to animals. This is not a question made in their terms. \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>To formalize such a query entails reducing information to its most basic components: What is an animal? What is a dream? \u003c/p>\n\u003cp>This ethos feels true of the exhibition as well, which leaves one wondering what exactly a sculpture is, what constitutes a painting, and how those categories ever got defined. The necessity of twisting and craning your body to see the works in \u003cem>with what eyes?\u003c/em> adds a time-based component to these questions, suturing frames and complicating narrative.\u003c/p>\n\u003cfigure id=\"attachment_13951418\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000.jpg\" alt=\"White wall with three embedded and lit metal reliefs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-7_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Hernández, installation view of ‘with what eyes?,’ 2023. \u003ccite>(Nicholas Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond Hernández’s architectural — and for me, quite philosophical — labyrinth are stainless-steel reliefs, embedded and lit within more of the installation’s white walls. In each relief, Hernández has cut long, bowing lines that sketch chimpanzees in various states of rest and anguish, the surfaces textured using an array of different-sized hammers. The effect touches on art history, briefly conjuring \u003ca href=\"https://www.moma.org/artists/1168\">Jean Cocteau’s line drawings\u003c/a>, but then eclipses that and stretches further back, to the mark making of early systems of language. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951260",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hernandez’s rhythmic hammering dapples the steel. During my visit, my striped blouse is disassembled by the stainless steel’s reflective quality, unraveling in microscopic patterns as I shift my weight from side to side. This hallucinatory animation plays out before a docile chimpanzee, gazing past me languidly, with bedroom eyes. And perhaps for the first time in my life, an artwork makes me feel shy.\u003c/p>\n\u003cp>I was surprised, then quickly convinced, when Villalobos told me that writer and playwright Anne Carson’s translation of Sappho’s fragments, \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/If_Not,_Winter\">If Not, Winter\u003c/a>\u003c/i> was another point of inspiration for Hernández.\u003c/p>\n\u003cp>Carson inserts brackets into her translation of Sappho’s poetry, of which only fragments remain, to hold space for lost or illegible portions. In her introduction, Carson suggests the brackets as “a sort of antipoem that condenses everything you ever wanted her to write.” Suddenly the white walls dividing Hernández’s exhibition, defining interiors and exteriors, are recast. They, like brackets, hold absence as a material.\u003c/p>\n\u003cfigure id=\"attachment_13951419\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18.jpg\" alt=\"Painting of bat's head resting on its wing on white wall\" width=\"1600\" height=\"1067\" class=\"size-full wp-image-13951419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/RH_with-what-eyes-18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Hernández, ‘you burn me,’ 2023. \u003ccite>(Nicholas Bruno )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On one of the Wattis’ far walls (which feels farther than usual due to Hernández’s added architectural elements), hangs a soft, simple painting of a bat with its head resting on bended wing. It’s rendered in a just-off manner, too self-possessed and unstylized to be a cartoon. At the same time, it’s too ethereal and perfect to be real. \u003c/p>\n\u003cp>The strange bat with its wide, omnipotent eyes undercuts the complexity of the exhibition. Suddenly, there’s an answer to that impossible question.\u003c/p>\n\u003cp>By taking literary material as a starting point for the physical and philosophical elements of his work, Hernández is able to focus, almost perfectly, on formal expression and inquiry. Embracing an indirect mode of expression, his work is personal, a sort of real-time staging of his own interpretations of Carson and Peña-Guzmán’s writing. At the same time, it endlessly invites other perspectives. Maybe \u003ci>with what eyes?\u003c/i> is the artist’s attempt at an “anti-show,” a show with space for everything you ever wanted him to make. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rodrigo Hernández’s ‘\u003ca href=\"https://wattis.org/our-program/on-view/rodrigo-hernandez\">with what eyes?\u003c/a>’ is on view at the CCA Wattis Institute for Contemporary Arts through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951379/with-what-eyes-rodrigo-hernandez-cca-wattis-review",
"authors": [
"11696"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10278",
"arts_769",
"arts_585",
"arts_901"
],
"featImg": "arts_13951416",
"label": "arts_140"
},
"arts_13951374": {
"type": "posts",
"id": "arts_13951374",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951374",
"score": null,
"sort": [
1706819182000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706819182,
"format": "standard",
"title": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"headTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry | KQED",
"content": "\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13951349']\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CZ0B22z22pI\u003c/p>\n\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AsaMWxppznk\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>[aside postid='arts_13951126']It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>[aside postid='arts_13951218']Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1520,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1706819452,
"excerpt": "Donald Glover’s new Prime Video series looks a little like a cologne ad or a retro heist movie ... in a good way.",
"headData": {
"twImgId": "",
"twTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"socialTitle": "‘Mr. & Mrs. Smith’ Review: Winning Action, On-Screen Chemistry %%page%% %%sep%% KQED",
"ogTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"ogImgId": "",
"twDescription": "",
"description": "Donald Glover’s new Prime Video series looks a little like a cologne ad or a retro heist movie ... in a good way.",
"title": "‘Mr. & Mrs. Smith’ Review: Winning Action, On-Screen Chemistry | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"datePublished": "2024-02-01T12:26:22-08:00",
"dateModified": "2024-02-01T12:30:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1228129090&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 01 Feb 2024 09:01:08 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 01 Feb 2024 09:01:08 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/01/1228129090/mr-mrs-smith-review-donald-glover-maya-erskine?ft=nprml&f=1228129090",
"nprImageAgency": "Prime Video",
"nprStoryId": "1228129090",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "David Lee",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Feb 2024 09:01:00 -0500",
"path": "/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\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/CZ0B22z22pI'\n title='//www.youtube.com/embed/CZ0B22z22pI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\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/AsaMWxppznk'\n title='//www.youtube.com/embed/AsaMWxppznk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951126",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951218",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"authors": [
"byline_arts_13951374"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10521",
"arts_21913",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951375",
"label": "arts_140"
},
"arts_13951349": {
"type": "posts",
"id": "arts_13951349",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951349",
"score": null,
"sort": [
1706816552000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706816552,
"format": "standard",
"title": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"headTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions | KQED",
"content": "\u003cp>Much has been written about the one-and-only time the Rev. Martin Luther King Jr. and Malcolm X met. It was on March 26, 1964, and the two civil rights leaders were both in Washington for a Senate debate on the Civil Rights Act.\u003c/p>\n\u003cp>The moment is also depicted in the new installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series called \u003cem>Genius: MLK /X\u003c/em>, premiering Thursday. This is the fourth series.\u003c/p>\n\u003cp>[aside postid='arts_13823377']Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2O2JZ7ZYgYc\u003c/p>\n\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>[aside postid='arts_13854299']For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>[aside postid='arts_13819139']“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 900,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1706819486,
"excerpt": "‘One misconception is that either you align with Malcolm or with Martin,’ the show's executive producer says. ‘We need both.’",
"headData": {
"twImgId": "",
"twTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"socialTitle": "‘Genius: MLK/X’ Will Stream on Nat Geo, Hulu and Disney+%%page%% %%sep%% KQED",
"ogTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"ogImgId": "",
"twDescription": "",
"description": "‘One misconception is that either you align with Malcolm or with Martin,’ the show's executive producer says. ‘We need both.’",
"title": "‘Genius: MLK/X’ Will Stream on Nat Geo, Hulu and Disney+ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"datePublished": "2024-02-01T11:42:32-08:00",
"dateModified": "2024-02-01T12:31:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming",
"status": "publish",
"templateType": "standard",
"nprByline": "Alicia Rancilio, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much has been written about the one-and-only time the Rev. Martin Luther King Jr. and Malcolm X met. It was on March 26, 1964, and the two civil rights leaders were both in Washington for a Senate debate on the Civil Rights Act.\u003c/p>\n\u003cp>The moment is also depicted in the new installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series called \u003cem>Genius: MLK /X\u003c/em>, premiering Thursday. This is the fourth series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13823377",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he 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>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\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/2O2JZ7ZYgYc'\n title='//www.youtube.com/embed/2O2JZ7ZYgYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854299",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13819139",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming",
"authors": [
"byline_arts_13951349"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75",
"arts_990"
],
"tags": [
"arts_21912",
"arts_7102",
"arts_769",
"arts_585"
],
"featImg": "arts_13951353",
"label": "arts_140"
},
"arts_13951260": {
"type": "posts",
"id": "arts_13951260",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951260",
"score": null,
"sort": [
1706658960000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706658960,
"format": "standard",
"title": "The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements",
"headTitle": "The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements | KQED",
"content": "\u003cp>Neon art is elemental (in the periodic table kind of way). Sure, plenty of sculpture is made out of gold, silver, copper or iron, but these are all fairly run-of-the-mill metals. They behave in fairly run-of-the-mill ways.\u003c/p>\n\u003cp>But put an electric charge into a tube of helium, argon, neon or krypton, and seemingly magical things happen. All of those zaps and sizzles can be explained by science, but the gasses will also behave as they see fit — and therein lies one aspect of the medium’s artistic appeal.\u003c/p>\n\u003cp>At the Contemporary Jewish Museum, the organization \u003ca href=\"https://www.shebends.com/\">She Bends\u003c/a> has curated a group show of neon, glass, plasma and installation work for \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>, on view through April 28. It’s an exhibition that not only challenges commercial uses of neon but the traditionally masculine world of its making. And while the nine artists included in \u003ci>First Light\u003c/i> approach glass and neon in vastly different ways, they share an openness and enthusiasm about their processes, turning this humming, glowing assembly of works into a uniquely welcoming art show.\u003c/p>\n\u003cfigure id=\"attachment_13951304\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg\" alt=\"Wide table covered in tubes, papers, a notbook and tools, pipes and knobs attached to side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of the bending table in ‘First Light.’ \u003ccite>(Henrik Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, we don’t get simply their artwork, but two displays demonstrating just how neon gets made. At the first one, a lightly scorched bending table scattered with paper patterns shows how straight tubes become three-dimensional objects through precise heating and careful pressure. In the final galleries, we see a mock-up of a bombarding table, complete with the valves, tubes and gauges used to heat impurities out of a glass tube, create a vacuum, pump in noble gas and electrify it.\u003c/p>\n\u003cp>Easy, right? It is eminently clear from the outset of \u003ci>First Light\u003c/i> that this is a persnickety and highly technical art form. And yet most of the artists in the show push well beyond the already-complicated norm, both expanding and deconstructing our idea of neon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the expansive side, take \u003ca href=\"https://aan-g.com/\">Angelina Almukhametova\u003c/a>’s \u003ci>Rhizome Intermezzo No. 20\u003c/i>, a multimedia collaboration with Dan Disciglio. Bright white beads of krypton run through clear glass tubes shaped to echo the missing branches and roots of an attached tree stump. A sound element uses the wood’s resonance and converts the electromagnetic pulses of the transformers (which power the neon) into a cyclical buzz and hum.\u003c/p>\n\u003cfigure id=\"attachment_13951278\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg\" alt=\"Lit neon tube rests on carved salt and blown clear glass\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13951278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mollie McKinley, ‘Sunrise Over Resting Body,’ 2022. \u003ccite>(Courtesy of the Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or look to \u003ca href=\"http://kamilamroz.pl/?v=7516fd43adaa\">Kamila Mróz\u003c/a>’s sculptures, which allow the electrons inside a more freeform path. In her impossibly delicate “crown” of glass, thrilling forks of light bounce in and out of the crown’s leaves, lending an eerie aliveness to her work. (Picture a grown-up, extremely sophisticated plasma ball, but no touching, please.)\u003c/p>\n\u003cp>Mroz’s pieces are made from flameworked borosilicate, which \u003ca href=\"https://www.merylpataky.com/\">Meryl Pataky\u003c/a> (the founder of She Bends) also uses in a series of sculptural candle holders. These are some of the most ethereal and otherworldly works in the show — with the noble gasses less constrained by a standardized tube, they retain some of their (for lack of a better word) gassiness. It’s in these moments that the truly out-there science of it all hits hardest.\u003c/p>\n\u003cp>Driving this point home is \u003ca href=\"https://www.kacielees.com/\">Kacie Lees\u003c/a>’ work, which distills neon down to those aforementioned elements. In two wall installations activated by the audience, she nods to the cosmic origins of the materials neon artists use. In \u003ci>The Deep Field\u003c/i>, a black-flocked wall displays Webb’s First Deep Field image, inviting museum visitors to inscribe their own responses with colored pencil onto this origin story of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13951279\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg\" alt=\"Circular neon wall piece with six-pointed star pattern, yellow, pink and red symbols\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Meryl Pataky, ‘Invocation Through Fabrication,’ 2018. \u003ccite>(Photo by Brock Brake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Vivid Unseen\u003c/i>, Lees has blended phosphor powder into paint, creating a dazzling large-scale mural that’s only visible in small doses, with the help of a handheld UV flashlight. Passing the flashlight over the mural, fluorescent colors and splashes explode across the surface of an otherwise white wall. The experience is one part Lascaux cave paintings, one part CSI.\u003c/p>\n\u003cp>She Bends and the Contemporary Jewish Museum have executed an impressive feat with \u003ci>First Light\u003c/i>: it’s an educational show that isn’t dull or overwhelming. Instead, it presents wholly inventive combinations of media. And most importantly, it opens up avenues of delight and wonder. I doubt visitors will look up at neon — or the stars — in the same way ever again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>,’ on view at the Contemporary Jewish Museum through April 28, 2024.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 795,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1706729319,
"excerpt": "A group show organized by She Bends expands and deconstructs notions of neon and glass art. ",
"headData": {
"twImgId": "",
"twTitle": "The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements",
"socialTitle": "‘First Light’ Review: A Celebration of Cosmic Elements at CJM %%page%% %%sep%% %%sitename%%",
"ogTitle": "The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements",
"ogImgId": "",
"twDescription": "",
"description": "A group show organized by She Bends expands and deconstructs notions of neon and glass art. ",
"title": "‘First Light’ Review: A Celebration of Cosmic Elements at CJM | KQED Arts",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The CJM’s ‘First Light’ Is a Glowing Celebration of Unpredictable Elements",
"datePublished": "2024-01-30T15:56:00-08:00",
"dateModified": "2024-01-31T11:28:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cjm-first-light-she-bends-neon-art",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13951260/cjm-first-light-she-bends-neon-art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neon art is elemental (in the periodic table kind of way). Sure, plenty of sculpture is made out of gold, silver, copper or iron, but these are all fairly run-of-the-mill metals. They behave in fairly run-of-the-mill ways.\u003c/p>\n\u003cp>But put an electric charge into a tube of helium, argon, neon or krypton, and seemingly magical things happen. All of those zaps and sizzles can be explained by science, but the gasses will also behave as they see fit — and therein lies one aspect of the medium’s artistic appeal.\u003c/p>\n\u003cp>At the Contemporary Jewish Museum, the organization \u003ca href=\"https://www.shebends.com/\">She Bends\u003c/a> has curated a group show of neon, glass, plasma and installation work for \u003ci>\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>, on view through April 28. It’s an exhibition that not only challenges commercial uses of neon but the traditionally masculine world of its making. And while the nine artists included in \u003ci>First Light\u003c/i> approach glass and neon in vastly different ways, they share an openness and enthusiasm about their processes, turning this humming, glowing assembly of works into a uniquely welcoming art show.\u003c/p>\n\u003cfigure id=\"attachment_13951304\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg\" alt=\"Wide table covered in tubes, papers, a notbook and tools, pipes and knobs attached to side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_BendingTable_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of the bending table in ‘First Light.’ \u003ccite>(Henrik Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, we don’t get simply their artwork, but two displays demonstrating just how neon gets made. At the first one, a lightly scorched bending table scattered with paper patterns shows how straight tubes become three-dimensional objects through precise heating and careful pressure. In the final galleries, we see a mock-up of a bombarding table, complete with the valves, tubes and gauges used to heat impurities out of a glass tube, create a vacuum, pump in noble gas and electrify it.\u003c/p>\n\u003cp>Easy, right? It is eminently clear from the outset of \u003ci>First Light\u003c/i> that this is a persnickety and highly technical art form. And yet most of the artists in the show push well beyond the already-complicated norm, both expanding and deconstructing our idea of neon.\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>On the expansive side, take \u003ca href=\"https://aan-g.com/\">Angelina Almukhametova\u003c/a>’s \u003ci>Rhizome Intermezzo No. 20\u003c/i>, a multimedia collaboration with Dan Disciglio. Bright white beads of krypton run through clear glass tubes shaped to echo the missing branches and roots of an attached tree stump. A sound element uses the wood’s resonance and converts the electromagnetic pulses of the transformers (which power the neon) into a cyclical buzz and hum.\u003c/p>\n\u003cfigure id=\"attachment_13951278\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg\" alt=\"Lit neon tube rests on carved salt and blown clear glass\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13951278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/03_MollieMcKinley_SunriseOverRestingBody_CJM_2000-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mollie McKinley, ‘Sunrise Over Resting Body,’ 2022. \u003ccite>(Courtesy of the Contemporary Jewish Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or look to \u003ca href=\"http://kamilamroz.pl/?v=7516fd43adaa\">Kamila Mróz\u003c/a>’s sculptures, which allow the electrons inside a more freeform path. In her impossibly delicate “crown” of glass, thrilling forks of light bounce in and out of the crown’s leaves, lending an eerie aliveness to her work. (Picture a grown-up, extremely sophisticated plasma ball, but no touching, please.)\u003c/p>\n\u003cp>Mroz’s pieces are made from flameworked borosilicate, which \u003ca href=\"https://www.merylpataky.com/\">Meryl Pataky\u003c/a> (the founder of She Bends) also uses in a series of sculptural candle holders. These are some of the most ethereal and otherworldly works in the show — with the noble gasses less constrained by a standardized tube, they retain some of their (for lack of a better word) gassiness. It’s in these moments that the truly out-there science of it all hits hardest.\u003c/p>\n\u003cp>Driving this point home is \u003ca href=\"https://www.kacielees.com/\">Kacie Lees\u003c/a>’ work, which distills neon down to those aforementioned elements. In two wall installations activated by the audience, she nods to the cosmic origins of the materials neon artists use. In \u003ci>The Deep Field\u003c/i>, a black-flocked wall displays Webb’s First Deep Field image, inviting museum visitors to inscribe their own responses with colored pencil onto this origin story of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13951279\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg\" alt=\"Circular neon wall piece with six-pointed star pattern, yellow, pink and red symbols\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_MerylPataky_-InvocationThroughFabrication_CJM_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Meryl Pataky, ‘Invocation Through Fabrication,’ 2018. \u003ccite>(Photo by Brock Brake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Vivid Unseen\u003c/i>, Lees has blended phosphor powder into paint, creating a dazzling large-scale mural that’s only visible in small doses, with the help of a handheld UV flashlight. Passing the flashlight over the mural, fluorescent colors and splashes explode across the surface of an otherwise white wall. The experience is one part Lascaux cave paintings, one part CSI.\u003c/p>\n\u003cp>She Bends and the Contemporary Jewish Museum have executed an impressive feat with \u003ci>First Light\u003c/i>: it’s an educational show that isn’t dull or overwhelming. Instead, it presents wholly inventive combinations of media. And most importantly, it opens up avenues of delight and wonder. I doubt visitors will look up at neon — or the stars — in the same way ever again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.thecjm.org/exhibitions/200\">First Light: Rituals of Glass and Neon Art\u003c/a>\u003c/i>,’ on view at the Contemporary Jewish Museum through April 28, 2024.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951260/cjm-first-light-she-bends-neon-art",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_1787",
"arts_769",
"arts_585"
],
"featImg": "arts_13951277",
"label": "arts_140"
},
"arts_13951218": {
"type": "posts",
"id": "arts_13951218",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951218",
"score": null,
"sort": [
1706643212000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706643212,
"format": "standard",
"title": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"headTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies | KQED",
"content": "\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YabKNs66eeg\u003c/p>\n\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>[aside postid='arts_13950974']The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 605,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706643212,
"excerpt": "Tom Hollander and Naomi Watts lead a powerhouse cast in the new eight-part FX series, mostly directed by Gus Van Sant.",
"headData": {
"twImgId": "",
"twTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"socialTitle": "‘Feud: Truman Capote Vs. The Swans’ Review: Unmissable TV %%page%% %%sep%% KQED",
"ogTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"ogImgId": "",
"twDescription": "",
"description": "Tom Hollander and Naomi Watts lead a powerhouse cast in the new eight-part FX series, mostly directed by Gus Van Sant.",
"title": "‘Feud: Truman Capote Vs. The Swans’ Review: Unmissable TV | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"datePublished": "2024-01-30T11:33:32-08:00",
"dateModified": "2024-01-30T11:33:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1227854692&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 30 Jan 2024 12:21:19 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 30 Jan 2024 12:21:19 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/30/1227854692/feud-truman-capote-vs-the-swans-review?ft=nprml&f=1227854692",
"nprImageAgency": "FX",
"nprStoryId": "1227854692",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 30 Jan 2024 12:21:00 -0500",
"path": "/arts/13951218/dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951126",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\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/YabKNs66eeg'\n title='//www.youtube.com/embed/YabKNs66eeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951218/dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"authors": [
"byline_arts_13951218"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8237",
"arts_769",
"arts_585",
"arts_21901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951220",
"label": "arts_140"
},
"arts_13951126": {
"type": "posts",
"id": "arts_13951126",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951126",
"score": null,
"sort": [
1706553108000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706553108,
"format": "standard",
"title": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"headTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session | KQED",
"content": "\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1116,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1706553108,
"excerpt": "‘The Greatest Night in Pop’ captures the good, the bad and the awkward from one of pop's most legendary recording sessions.",
"headData": {
"twImgId": "",
"twTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"socialTitle": "New Netflix Documentary Captures ‘We Are the World’ Recording %%page%% %%sep%% KQED",
"ogTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"ogImgId": "",
"twDescription": "",
"description": "‘The Greatest Night in Pop’ captures the good, the bad and the awkward from one of pop's most legendary recording sessions.",
"title": "New Netflix Documentary Captures ‘We Are the World’ Recording | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
"datePublished": "2024-01-29T10:31:48-08:00",
"dateModified": "2024-01-29T10:31:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "we-are-the-world-documentary-netflix-80s",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13951126/we-are-the-world-documentary-netflix-80s",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13933809",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936153",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\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/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951078",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938155",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951126/we-are-the-world-documentary-netflix-80s",
"authors": [
"byline_arts_13951126"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_990"
],
"tags": [
"arts_10493",
"arts_13672",
"arts_3324",
"arts_769",
"arts_585"
],
"featImg": "arts_13951138",
"label": "arts_140"
},
"arts_13951067": {
"type": "posts",
"id": "arts_13951067",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951067",
"score": null,
"sort": [
1706298701000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706298701,
"format": "aside",
"title": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’",
"headTitle": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’ | KQED",
"content": "\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>[aside postid='arts_13950974']Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lA-1JCRguZ0\u003c/p>\n\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940076']Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 639,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706305523,
"excerpt": "The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.",
"headData": {
"twImgId": "",
"twTitle": "Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’",
"socialTitle": "‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies %%page%% %%sep%% KQED",
"ogTitle": "Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’",
"ogImgId": "",
"twDescription": "",
"description": "The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.",
"title": "‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’",
"datePublished": "2024-01-26T11:51:41-08:00",
"dateModified": "2024-01-26T13:45:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226859205&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 26 Jan 2024 05:00:46 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 26 Jan 2024 05:00:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/26/1226859205/masters-of-the-air-review-spielberg-hanks?ft=nprml&f=1226859205",
"nprAudio": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"nprImageAgency": "Apple TV+",
"nprAudioM3u": "http://api.npr.org/m3u/11227177156-fae457.m3u?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"nprStoryId": "1226859205",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 26 Jan 2024 13:23:00 -0500",
"path": "/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"audioUrl": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\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>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\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/lA-1JCRguZ0'\n title='//www.youtube.com/embed/lA-1JCRguZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"authors": [
"byline_arts_13951067"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_769",
"arts_585",
"arts_3038"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951068",
"label": "arts_140"
},
"arts_13951043": {
"type": "posts",
"id": "arts_13951043",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951043",
"score": null,
"sort": [
1706298354000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1706298354,
"format": "standard",
"title": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
"headTitle": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler’s Fifth | KQED",
"content": "\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>[aside postID='arts_13909978']Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 842,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1709584396,
"excerpt": "Nearing his final concerts with the San Francisco Symphony, MTT brought Mahler's masterpiece to life. ",
"headData": {
"twImgId": "",
"twTitle": "On a Special Night, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
"socialTitle": "Review: Michael Tilson Thomas Leads Final Series Concerts at SF Symphony %%page%% %%sep%% KQED",
"ogTitle": "On a Special Night, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
"ogImgId": "",
"twDescription": "",
"description": "In an emotional appearance, MTT brought Mahler's Symphony No. 5 to life.",
"socialDescription": "In an emotional appearance, MTT brought Mahler's Symphony No. 5 to life.",
"title": "Review: Michael Tilson Thomas Leads Final Series Concerts at SF Symphony | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
"datePublished": "2024-01-26T11:45:54-08:00",
"dateModified": "2024-03-04T12:33:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "review-michael-tilson-thomas-mahler-5-san-francisco-symphony",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13909978",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\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>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_4058",
"arts_10342",
"arts_10278",
"arts_1366",
"arts_769",
"arts_1146",
"arts_1367"
],
"featImg": "arts_13951061",
"label": "arts"
},
"arts_13950994": {
"type": "posts",
"id": "arts_13950994",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950994",
"score": null,
"sort": [
1706218486000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706218486,
"format": "standard",
"title": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"headTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too | KQED",
"content": "\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13950649']Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3zTLbBUJTeE\u003c/p>\n\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>[aside postid='arts_13950901']Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 828,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1706218486,
"excerpt": "The action takes place at the birthday party of a father who's dying of cancer. But ‘Tótem’ is a lot more about life than death.",
"headData": {
"twImgId": "",
"twTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"socialTitle": "‘Tótem’ Review: Lila Avilés’ Movie Uses Death to Talk About Life %%page%% %%sep%% KQED",
"ogTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"ogImgId": "",
"twDescription": "",
"description": "The action takes place at the birthday party of a father who's dying of cancer. But ‘Tótem’ is a lot more about life than death.",
"title": "‘Tótem’ Review: Lila Avilés’ Movie Uses Death to Talk About Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"datePublished": "2024-01-25T13:34:46-08:00",
"dateModified": "2024-01-25T13:34:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "totem-movie-review-lila-aviles",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226817598&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 25 Jan 2024 13:37:58 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 25 Jan 2024 13:38:14 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/25/1226817598/totem-film-review?ft=nprml&f=1226817598",
"nprAudio": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240125_fa_46cadd30-66f8-4af9-8e00-a70556b6da00.mp3?orgId=427869011&topicId=4467349&d=359&p=13&story=1226817598&ft=nprml&f=1226817598",
"nprImageAgency": "Limerencia",
"nprAudioM3u": "http://api.npr.org/m3u/11226893662-664b3e.m3u?orgId=427869011&topicId=4467349&d=359&p=13&story=1226817598&ft=nprml&f=1226817598",
"nprStoryId": "1226817598",
"nprByline": "John Powers",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jan 2024 13:50:00 -0500",
"path": "/arts/13950994/totem-movie-review-lila-aviles",
"audioUrl": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240125_fa_46cadd30-66f8-4af9-8e00-a70556b6da00.mp3?orgId=427869011&topicId=4467349&d=359&p=13&story=1226817598&ft=nprml&f=1226817598",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950649",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\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>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3zTLbBUJTeE'\n title='//www.youtube.com/embed/3zTLbBUJTeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950901",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950994/totem-movie-review-lila-aviles",
"authors": [
"byline_arts_13950994"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5573",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950995",
"label": "arts_140"
},
"arts_13950961": {
"type": "posts",
"id": "arts_13950961",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950961",
"score": null,
"sort": [
1706213249000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706213249,
"format": "standard",
"title": "‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco",
"headTitle": "‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco | KQED",
"content": "\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 658,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1706549311,
"excerpt": "Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.",
"headData": {
"twImgId": "",
"twTitle": "‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco",
"socialTitle": "Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills %%page%% %%sep%% KQED",
"ogTitle": "‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco",
"ogImgId": "",
"twDescription": "",
"description": "Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.",
"title": "Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco",
"datePublished": "2024-01-25T12:07:29-08:00",
"dateModified": "2024-01-29T09:28:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "review-cirque-du-soliel-kooza-san-francisco",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13950961/review-cirque-du-soliel-kooza-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\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>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950961/review-cirque-du-soliel-kooza-san-francisco",
"authors": [
"11296"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_76",
"arts_967"
],
"tags": [
"arts_1707",
"arts_21894",
"arts_769",
"arts_1146",
"arts_585"
],
"featImg": "arts_13950969",
"label": "arts_140"
},
"arts_13950974": {
"type": "posts",
"id": "arts_13950974",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950974",
"score": null,
"sort": [
1706212657000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1706212657,
"format": "standard",
"title": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"headTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’ | KQED",
"content": "\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>[aside postid='arts_13950422']Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=whHb3ClSdrQ\u003c/p>\n\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>[aside postid='arts_13940076']Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1773,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1706578116,
"excerpt": "The TV adaptation of the 2016 novel ‘The Expatriates’ tells the stories of several women navigating expat ennui.",
"headData": {
"twImgId": "",
"twTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"socialTitle": "‘Expats’ Review: New Prime Series Sometimes Misses the Mark %%page%% %%sep%% KQED",
"ogTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"ogImgId": "",
"twDescription": "",
"description": "The TV adaptation of the 2016 novel ‘The Expatriates’ tells the stories of several women navigating expat ennui.",
"title": "‘Expats’ Review: New Prime Series Sometimes Misses the Mark | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"datePublished": "2024-01-25T11:57:37-08:00",
"dateModified": "2024-01-29T17:28:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226666037&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 25 Jan 2024 07:00:12 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 25 Jan 2024 07:00:12 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/25/1226666037/expats-review-nicole-kidman?ft=nprml&f=1226666037",
"nprImageAgency": "Prime Video",
"nprStoryId": "1226666037",
"nprByline": "Linda Holmes",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jan 2024 07:00:00 -0500",
"path": "/arts/13950974/nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950422",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\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/whHb3ClSdrQ'\n title='//www.youtube.com/embed/whHb3ClSdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\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>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950974/nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"authors": [
"byline_arts_13950974"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_5391",
"arts_10521",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950975",
"label": "arts_137"
}
},
"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": 504,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_13951144",
"arts_13951379",
"arts_13951374",
"arts_13951349",
"arts_13951260",
"arts_13951218",
"arts_13951126",
"arts_13951067",
"arts_13951043",
"arts_13950994",
"arts_13950961",
"arts_13950974"
],
"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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_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_15246": {
"type": "terms",
"id": "arts_15246",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15246",
"found": true
},
"relationships": {},
"featImg": null,
"name": "action",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "action Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15258,
"slug": "action",
"isLoading": false,
"link": "/arts/tag/action"
},
"arts_21913": {
"type": "terms",
"id": "arts_21913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reboot",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reboot Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21925,
"slug": "reboot",
"isLoading": false,
"link": "/arts/tag/reboot"
},
"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_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_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_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_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"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_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"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_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_21912": {
"type": "terms",
"id": "arts_21912",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21912",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Malcolm X",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Malcolm X Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21924,
"slug": "malcolm-x",
"isLoading": false,
"link": "/arts/tag/malcolm-x"
},
"arts_7102": {
"type": "terms",
"id": "arts_7102",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7102",
"found": true
},
"relationships": {},
"featImg": null,
"name": "MLK",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "MLK Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7114,
"slug": "mlk",
"isLoading": false,
"link": "/arts/tag/mlk"
},
"arts_1787": {
"type": "terms",
"id": "arts_1787",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1787",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Contemporary Jewish Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Contemporary Jewish Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1799,
"slug": "contemporary-jewish-museum",
"isLoading": false,
"link": "/arts/tag/contemporary-jewish-museum"
},
"arts_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_21901": {
"type": "terms",
"id": "arts_21901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truman Capote",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truman Capote Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21913,
"slug": "truman-capote",
"isLoading": false,
"link": "/arts/tag/truman-capote"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_9222": {
"type": "terms",
"id": "arts_9222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple TV+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple TV+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9234,
"slug": "apple-tv",
"isLoading": false,
"link": "/arts/tag/apple-tv"
},
"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"
},
"arts_4058": {
"type": "terms",
"id": "arts_4058",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4058",
"found": true
},
"relationships": {},
"featImg": null,
"name": "davies symphony hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "davies symphony hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4070,
"slug": "davies-symphony-hall",
"isLoading": false,
"link": "/arts/tag/davies-symphony-hall"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_1366": {
"type": "terms",
"id": "arts_1366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Tilson Thomas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Tilson Thomas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1378,
"slug": "michael-tilson-thomas",
"isLoading": false,
"link": "/arts/tag/michael-tilson-thomas"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_5573": {
"type": "terms",
"id": "arts_5573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mexico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mexico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5585,
"slug": "mexico",
"isLoading": false,
"link": "/arts/tag/mexico"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"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_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1707": {
"type": "terms",
"id": "arts_1707",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1707",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Circus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Circus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1719,
"slug": "circus",
"isLoading": false,
"link": "/arts/tag/circus"
},
"arts_21894": {
"type": "terms",
"id": "arts_21894",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21894",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cirque du soliel",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cirque du soliel Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21906,
"slug": "cirque-du-soliel",
"isLoading": false,
"link": "/arts/tag/cirque-du-soliel"
},
"arts_5391": {
"type": "terms",
"id": "arts_5391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "china",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "china Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5403,
"slug": "china",
"isLoading": false,
"link": "/arts/tag/china"
}
},
"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": {}
}
}
}