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_13939466": {
"type": "attachments",
"id": "arts_13939466",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13939466",
"found": true
},
"parent": 13939435,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka_COVER-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1702585640,
"modified": 1702587507,
"caption": "Timothée Chalamet stars as the chocolatier Willy Wonka in Paul King’s original musical prequel to ‘Charlie and the Chocolate Factory.’",
"description": null,
"title": "Wonka_COVER",
"credit": "Jaap Buittendijk/Warner Bros. Pictures",
"status": "inherit",
"altTag": "Man in top hat and Victorian attire stands with legs apart, mouth open with background dancers holding umbrellas with \"Wonka\" on them",
"isLoading": false,
"fetchFailed": false
},
"arts_13939926": {
"type": "attachments",
"id": "arts_13939926",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13939926",
"found": true
},
"parent": 13938158,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM.png",
"width": 1804,
"height": 1146
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1020x648.png",
"width": 1020,
"mimeType": "image/png",
"height": 648
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1536x976.png",
"width": 1536,
"mimeType": "image/png",
"height": 976
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-800x508.png",
"width": 800,
"mimeType": "image/png",
"height": 508
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-768x488.png",
"width": 768,
"mimeType": "image/png",
"height": 488
}
},
"publishDate": 1703848567,
"modified": 1706034121,
"caption": "Emma Stone starring as Bella Baxter in ‘Poor Things.’",
"description": null,
"title": "Emma Stone starring as Bella Baxter in ‘Poor Things.’",
"credit": "Searchlight Films",
"status": "inherit",
"altTag": "A pale woman with long black hair stands in side profile before a blue sky.",
"isLoading": false,
"fetchFailed": false
},
"arts_13938611": {
"type": "attachments",
"id": "arts_13938611",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13938611",
"found": true
},
"parent": 13938155,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-1017x576.jpg",
"width": 1017,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg",
"width": 1017,
"height": 652
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 513
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 492
}
},
"publishDate": 1701206489,
"modified": 1701206629,
"caption": "Michael Jackson about to win 12 Grammys for 'Thriller' at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered 'super-duper-duper sexy.'",
"description": null,
"title": "GettyImages-88696481-1020x847",
"credit": "Ron Galella/ Ron Galella Collection via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13937682": {
"type": "attachments",
"id": "arts_13937682",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13937682",
"found": true
},
"parent": 13937668,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_video-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_video-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_video.jpg",
"width": 1024,
"height": 565
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_video-1020x563.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 563
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_video-800x441.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 441
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_video-768x424.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 424
}
},
"publishDate": 1699319956,
"modified": 1699320348,
"caption": "A still from Liat Berdugo's video work in the Art+Process+Ideas exhibition at Mills College Art Museum.",
"description": null,
"title": "Berdugo_video",
"credit": "Sloane Larsen",
"status": "inherit",
"altTag": "A white hand reaches out to touch a black and white photograph of a hand holding dirt against a green background",
"isLoading": false,
"fetchFailed": false
},
"arts_13937686": {
"type": "attachments",
"id": "arts_13937686",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13937686",
"found": true
},
"parent": 13937140,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-160x109.png",
"width": 160,
"mimeType": "image/png",
"height": 109
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539.png",
"width": 1920,
"height": 1308
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-2048x1395.png",
"width": 2048,
"mimeType": "image/png",
"height": 1395
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-1020x695.png",
"width": 1020,
"mimeType": "image/png",
"height": 695
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-1536x1046.png",
"width": 1536,
"mimeType": "image/png",
"height": 1046
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-1920x1308.png",
"width": 1920,
"mimeType": "image/png",
"height": 1308
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-800x545.png",
"width": 800,
"mimeType": "image/png",
"height": 545
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/11/Donna-and-Ally-e1699320525539-768x523.png",
"width": 768,
"mimeType": "image/png",
"height": 523
}
},
"publishDate": 1699320315,
"modified": 1699403853,
"caption": "Qing Qi as Ally and Cousin Shy as Donna in ‘Donna and Ally.’",
"description": null,
"title": "Qing Qi as Ally and Cousin Shy as Donna in ‘Donna and Ally.’",
"credit": "Pretty Papa Productions",
"status": "inherit",
"altTag": "A mixed race woman with long red hair sits on a bed, counting money and leaning against a bright pink wall. On her lap is the resting head of a Black woman with her hair wrapped in a scarf who's lying prone next to her and holding a soft toy.",
"isLoading": false,
"fetchFailed": false
},
"arts_13935140": {
"type": "attachments",
"id": "arts_13935140",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13935140",
"found": true
},
"parent": 13933946,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple.png",
"width": 1840,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-1020x639.png",
"width": 1020,
"mimeType": "image/png",
"height": 639
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-1536x962.png",
"width": 1536,
"mimeType": "image/png",
"height": 962
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-800x501.png",
"width": 800,
"mimeType": "image/png",
"height": 501
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/09/couple-768x481.png",
"width": 768,
"mimeType": "image/png",
"height": 481
}
},
"publishDate": 1695252653,
"modified": 1695252780,
"caption": "Tim (Jonathan Bailey) and Hawk (Matt Bomer) being dour in a gloomy room because: gay in the ’50s.",
"description": null,
"title": "Tim (Jonathan Bailey) and Hawk (Matt Bomer) being dour in a gloomy room because: gay in the ’50s.",
"credit": "Showtime",
"status": "inherit",
"altTag": "Two handsome white men embrace and gaze into each other's faces. They are both wearing open white shirts.",
"isLoading": false,
"fetchFailed": false
},
"arts_13936718": {
"type": "attachments",
"id": "arts_13936718",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13936718",
"found": true
},
"parent": 13936714,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-160x110.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 110
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000.jpg",
"width": 2000,
"height": 1371
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1020x699.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 699
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1536x1053.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1053
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1920x1316.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1316
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-800x548.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 548
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-768x526.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 526
}
},
"publishDate": 1697763810,
"modified": 1697763882,
"caption": "Pacita Abad with her trapunto painting 'Ati-Atihan,' 1983, wearing garments and jewelry collected on her travels.",
"description": null,
"title": "18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan,-1983_2000",
"credit": "Courtesy Pacita Abad Art Estate",
"status": "inherit",
"altTag": "Woman smiles in front of colorful abstract stitched background in tie-dyed dress",
"isLoading": false,
"fetchFailed": false
},
"arts_13936668": {
"type": "attachments",
"id": "arts_13936668",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13936668",
"found": true
},
"parent": 13936637,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-160x103.png",
"width": 160,
"mimeType": "image/png",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM.png",
"width": 1566,
"height": 1006
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-1020x655.png",
"width": 1020,
"mimeType": "image/png",
"height": 655
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-1536x987.png",
"width": 1536,
"mimeType": "image/png",
"height": 987
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-800x514.png",
"width": 800,
"mimeType": "image/png",
"height": 514
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-6.16.07-PM-768x493.png",
"width": 768,
"mimeType": "image/png",
"height": 493
}
},
"publishDate": 1697678190,
"modified": 1697678372,
"caption": "(L-R) Juju, Alex, Roz, Logan and Ken are paranormal investigators in new Hulu show, ‘Living for the Dead.’ ",
"description": null,
"title": "(L-R) Juju, Alex, Roz, Logan and Ken are paranormal investigators in new Hulu show, ‘Living for the Dead.’",
"credit": null,
"status": "inherit",
"altTag": "A Black woman, white woman, white transgender woman in 1960s clothing, and two white men, all stand in a row on a red brick driveway, in front of a white and orange RV.",
"isLoading": false,
"fetchFailed": false
},
"arts_13936283": {
"type": "attachments",
"id": "arts_13936283",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13936283",
"found": true
},
"parent": 13936269,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER.jpg",
"width": 2000,
"height": 1500
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterBAMPFA_COVER-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1697066498,
"modified": 1697090937,
"caption": "Installation view of Duane Linklater's 'dislodgevanishskinground,' on view in 'mymothersside' at BAMPFA.",
"description": null,
"title": "LinklaterBAMPFA_COVER",
"credit": "Daria Lugina",
"status": "inherit",
"altTag": "Framework of tepee mounted sideways on wall of gallery",
"isLoading": false,
"fetchFailed": false
},
"arts_13936205": {
"type": "attachments",
"id": "arts_13936205",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13936205",
"found": true
},
"parent": 13936204,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898.jpg",
"width": 1920,
"height": 1309
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-2048x1397.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1397
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-1020x695.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 695
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-1536x1047.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1047
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-1920x1309.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1309
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-800x545.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 545
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Dave-Glass-e1696983063898-768x524.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 524
}
},
"publishDate": 1696982706,
"modified": 1697049015,
"caption": "A moment caught at Market and 6th St. in San Francisco, circa 1991.",
"description": null,
"title": "A moment caught at Market and 6th in San Francisco, circa 1991.",
"credit": "Dave Glass/ Courtesy of the Tenderloin Museum",
"status": "inherit",
"altTag": "A young Black woman wearing a gold chain, dangling earrings and casual sweater, gestures, putting her right arm at an angle next to her. Behind her on the right stands a grinning, young Latino man wearing a leather jacket and a baseball cap with an X on it. Behind her on the left is a young Black man wearing a work shirt buttoned all the way up, with a baseball cap and sunglasses. Behind them all is a Black person of undetermined gender wearing white sunglasses and backcombed hair.",
"isLoading": false,
"fetchFailed": false
},
"arts_13936180": {
"type": "attachments",
"id": "arts_13936180",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13936180",
"found": true
},
"parent": 13935873,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER.png",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-1536x864.png",
"width": 1536,
"mimeType": "image/png",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Kurzweil_Artificial_COVER-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1696959176,
"modified": 1696959211,
"caption": "Amy Kurzweil's graphic memoir, 'Artificial: A Love Story,' is an exploration of her patrilineal line.",
"description": null,
"title": "Kurzweil_Artificial_COVER",
"credit": "Book cover courtesy of Catapult",
"status": "inherit",
"altTag": "Book cover with drawn hands on piano keys set against a purple circuit-board image",
"isLoading": false,
"fetchFailed": false
},
"arts_13935860": {
"type": "attachments",
"id": "arts_13935860",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13935860",
"found": true
},
"parent": 13935857,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-160x99.png",
"width": 160,
"mimeType": "image/png",
"height": 99
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM.png",
"width": 1762,
"height": 1092
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-1020x632.png",
"width": 1020,
"mimeType": "image/png",
"height": 632
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-1536x952.png",
"width": 1536,
"mimeType": "image/png",
"height": 952
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-800x496.png",
"width": 800,
"mimeType": "image/png",
"height": 496
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-2.15.54-PM-768x476.png",
"width": 768,
"mimeType": "image/png",
"height": 476
}
},
"publishDate": 1696454178,
"modified": 1696454217,
"caption": "Jessica Henwick and Julia Garner star in ‘The Royal Hotel.’",
"description": null,
"title": "Jessica Henwick and Julia Garner star in ‘The Royal Hotel.’",
"credit": "Neon via AP",
"status": "inherit",
"altTag": "A young woman with sharp features and short blonde hair stands next to an old sand-colored vehicle looking resigned. Another woman stands to the left, her back turned. Behind them sits a run down building.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13937668": {
"type": "authors",
"id": "byline_arts_13937668",
"meta": {
"override": true
},
"slug": "byline_arts_13937668",
"name": "Alexander Ullman",
"isLoading": false
},
"byline_arts_13935857": {
"type": "authors",
"id": "byline_arts_13935857",
"meta": {
"override": true
},
"slug": "byline_arts_13935857",
"name": "Mark Kennedy, The Associated Press",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"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"
},
"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"
},
"cbarton": {
"type": "authors",
"id": "11892",
"meta": {
"index": "authors_1716337520",
"id": "11892",
"found": true
},
"name": "cbarton",
"firstName": "Champe",
"lastName": "Barton",
"slug": "cbarton",
"email": "champebarton@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/53182b2721b77f20e35d895f3eef3a9f9568e0cfb0ab58ab359c2dc5381287db?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "cbarton | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/53182b2721b77f20e35d895f3eef3a9f9568e0cfb0ab58ab359c2dc5381287db?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/53182b2721b77f20e35d895f3eef3a9f9568e0cfb0ab58ab359c2dc5381287db?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cbarton"
},
"nelias": {
"type": "authors",
"id": "11990",
"meta": {
"index": "authors_1716337520",
"id": "11990",
"found": true
},
"name": "Naomi Elias",
"firstName": "Naomi",
"lastName": "Elias",
"slug": "nelias",
"email": "naomielias09@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/182770e03ab93f0fdf3c264ad3d088daf0198dd3bc8e1ccd1a008b81387410c1?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Naomi Elias | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/182770e03ab93f0fdf3c264ad3d088daf0198dd3bc8e1ccd1a008b81387410c1?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/182770e03ab93f0fdf3c264ad3d088daf0198dd3bc8e1ccd1a008b81387410c1?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nelias"
}
},
"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": 45
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 45
}
},
{
"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_13939435": {
"type": "posts",
"id": "arts_13939435",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13939435",
"score": null,
"sort": [
1702587297000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1702587297,
"format": "standard",
"title": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness",
"headTitle": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness | KQED",
"content": "\u003cp>From a child’s perspective, there is no higher use for the application of magic than conjuring candy out of the air. In and of itself, this first law of speculative metaphysics, which I just coined, makes \u003cem>Wonka\u003c/em> an irresistible film for children.\u003c/p>\n\u003cp>[aside postID='arts_13939223']In addition to the expected superficial pleasures, writer-director Paul King’s original musical prequel to Roald Dahl’s \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/319173/charlie-and-the-chocolate-factory-by-roald-dahl-illustrated-by-quentin-blake/\">Charlie and the Chocolate Factory\u003c/a>\u003c/em> (1964) force-feeds a theme that is perennial catnip for youngsters: the unquenchable thirst for self-invention and reinvention. \u003c/p>\n\u003cp>The movie opens with the eager, idealistic, orphaned magician-waif Willy Wonka (Timothée Chalamet) arriving by boat in the big city — London? Probably, because the place is chockablock with English actors, but then why is Willy clearly American? — in a textbook example of the (fictional) intrepid young protagonist making their way through the mystifying, unfair and immoral adult world.\u003c/p>\n\u003cp>In other words, \u003cem>Wonka\u003c/em> (opening Friday, Dec. 15) is perfectly swell holiday fare for the little people in your vicinity. They may be restless in places where there’s too much plot and chitchat and not enough fantasy, but that’s why God and Santa put candy counters in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13939467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg\" alt=\"Woman leans on counter facing a man who frowns slightly, papers folded between them\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13939467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1920x1271.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Jaap Buittendijk/Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although I am a fervent believer that a great fairy tale requires a dash of terror (the child grows from having gone through \u003cem>something\u003c/em> on the bumpy road to a happy ending), I appreciate that King (\u003cem>Paddington 2\u003c/em>) has whisked away the cruelty that colored Dahl’s books. Consider the lodging where a helpful stranger (Tom Davis doing a pleasing tongue-in-cheek riff on Oliver Reed-as-Bill Sikes) directs the sovereign-less Wonka on his wintry first night. It turns out to be a laundry of indentured servitude operated by Mrs. Scrubbit (Academy Award-winner Olivia Colman having a ball, in part because King didn’t give her terrible teeth and an impenetrable accent).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dickens would laugh at this establishment, as do we, which is more Days Inn than Dungeons ‘R’ Us. Jim Carter (\u003cem>Downton Abbey\u003c/em>) brings dancehall wit and gusto to his role as leader of the captive, singing washing crew, which includes young Noodle (Calah Lane), who becomes Willy’s guide, accomplice and friend.\u003c/p>\n\u003cp>I delayed putting “singing” and “Willy” in the same paragraph as long as I could, but the time has come to remind moviemakers of the second law of speculative metaphysics: Don’t begin your movie with a non-musical actor singing. Yes, Anne Hathaway won an Oscar for croaking her way through \u003cem>Les Misérables\u003c/em>. Yes, Leos Carax put Adam Driver front and center for the extended music video that opened \u003cem>Annette\u003c/em>. And yes, Timothée Chalamet succeeds in overcoming his uninspiring entrance with a typically generous, game and sporting performance.\u003c/p>\n\u003cfigure id=\"attachment_13939468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg\" alt=\"Young girl and man walk across street in muted Victorian clothes \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Calah Lane and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am reluctant to critique Chalamet’s voice — if Putin has kompromat on me, it involves karaoke — which is thin but not amateur-hour bad. I do lament Hollywood’s decades-long insistence on casting (supposedly) bankable dramatic stars as musical leads. The upside is that countless high school seniors in drama clubs around the world will say, “If Chalamet is a household name with a voice like that, imagine how far I can go!”\u003c/p>\n\u003cp>Neil Hannon’s songs are serviceable and often clever, but they don’t lodge themselves in the memory. And King, regrettably, gives only a couple of them the glorious musical-fantasy treatment that is the third law of speculative metaphysics: Everyday people on the street and trolley turn into chorus singers, random strangers coalesce in a choreographed dance, and the real world dissolves into a candy-cane snow globe of harmony and happiness. (\u003cem>Barbie\u003c/em> boasts more flamboyant musical numbers, for the record.)\u003c/p>\n\u003cp>And yet, for all my carping, I enjoyed \u003cem>Wonka\u003c/em>. Willy’s relentless crusade to open his own chocolate shop — to validate his late mother’s support rather than out of an innate entrepreneurial drive, so venture capitalists need not apply — never succumbs to corn-syrup treacle. The heartstrings-pulling sequences, which don’t especially work, are blessedly brief. Hugh Grant (as the movie’s lone Oompa-Loompa, and who needs a battalion of those wee folks when you have Hugh Grant?) shows up at the exact perfect moment to inject a shot of acerbic pomposity, like Bénédectine poured in a milk chocolate truffle, into Willy’s earnest endeavors.\u003c/p>\n\u003cfigure id=\"attachment_13939469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg\" alt=\"Man in top hat and Victorian clothes stands on angled trunk of tree with pink flowered branches and shiny red orbs hanging from it\" width=\"2000\" height=\"1053\" class=\"size-full wp-image-13939469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1536x809.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1920x1011.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Wonka.’\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13931753']Unlike Pixar’s movies, which provide ample jokes that sail over the kids’ heads and keep the adults alert and entertained, \u003cem>Wonka\u003c/em> doesn’t set out to be either hip or politically au courant. The villains of the piece are a chocolate cartel comprised of three purportedly independent merchants, and the principles of capitalism (other than bribing the police chief) aren’t satirized but ignored altogether. (\u003cem>Barbie\u003c/em> aced that assignment, thank you.)\u003c/p>\n\u003cp>And it’s OK that \u003cem>Wonka\u003c/em> aspires to be a simple crowd-pleaser whose implicit message is to stay true to your dreams and your friends. The movie works just fine as a feel-good family film at a moment when the future is not just unwritten but uncertain. Is it an instant addition to the shelf of timeless holiday classics? It needed a bit more magic to tip the scales decisively, but I wouldn’t bet against Willy in the long run. Even without fast-forwarding through his songs.\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>‘Wonka’ opens in theaters on Friday, Dec. 15, 2023.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 984,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705002973,
"excerpt": "The original musical prequel, starring Timothée Chalamet and a bevy of colorful English actors, is fine holiday fare.",
"headData": {
"twImgId": "",
"twTitle": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness",
"socialTitle": "‘Wonka’ Review: Sweet Film Dodges Roald Dahl’s Bitterness %%page%% %%sep%% KQED",
"ogTitle": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness",
"ogImgId": "",
"twDescription": "",
"description": "The original musical prequel, starring Timothée Chalamet and a bevy of colorful English actors, is fine holiday fare.",
"title": "‘Wonka’ Review: Sweet Film Dodges Roald Dahl’s Bitterness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness",
"datePublished": "2023-12-14T12:54:57-08:00",
"dateModified": "2024-01-11T11:56:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wonka-review-timothee-chalamet-roald-dahl",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13939435/wonka-review-timothee-chalamet-roald-dahl",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From a child’s perspective, there is no higher use for the application of magic than conjuring candy out of the air. In and of itself, this first law of speculative metaphysics, which I just coined, makes \u003cem>Wonka\u003c/em> an irresistible film for children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13939223",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to the expected superficial pleasures, writer-director Paul King’s original musical prequel to Roald Dahl’s \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/319173/charlie-and-the-chocolate-factory-by-roald-dahl-illustrated-by-quentin-blake/\">Charlie and the Chocolate Factory\u003c/a>\u003c/em> (1964) force-feeds a theme that is perennial catnip for youngsters: the unquenchable thirst for self-invention and reinvention. \u003c/p>\n\u003cp>The movie opens with the eager, idealistic, orphaned magician-waif Willy Wonka (Timothée Chalamet) arriving by boat in the big city — London? Probably, because the place is chockablock with English actors, but then why is Willy clearly American? — in a textbook example of the (fictional) intrepid young protagonist making their way through the mystifying, unfair and immoral adult world.\u003c/p>\n\u003cp>In other words, \u003cem>Wonka\u003c/em> (opening Friday, Dec. 15) is perfectly swell holiday fare for the little people in your vicinity. They may be restless in places where there’s too much plot and chitchat and not enough fantasy, but that’s why God and Santa put candy counters in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13939467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg\" alt=\"Woman leans on counter facing a man who frowns slightly, papers folded between them\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13939467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1920x1271.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Jaap Buittendijk/Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although I am a fervent believer that a great fairy tale requires a dash of terror (the child grows from having gone through \u003cem>something\u003c/em> on the bumpy road to a happy ending), I appreciate that King (\u003cem>Paddington 2\u003c/em>) has whisked away the cruelty that colored Dahl’s books. Consider the lodging where a helpful stranger (Tom Davis doing a pleasing tongue-in-cheek riff on Oliver Reed-as-Bill Sikes) directs the sovereign-less Wonka on his wintry first night. It turns out to be a laundry of indentured servitude operated by Mrs. Scrubbit (Academy Award-winner Olivia Colman having a ball, in part because King didn’t give her terrible teeth and an impenetrable accent).\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>Dickens would laugh at this establishment, as do we, which is more Days Inn than Dungeons ‘R’ Us. Jim Carter (\u003cem>Downton Abbey\u003c/em>) brings dancehall wit and gusto to his role as leader of the captive, singing washing crew, which includes young Noodle (Calah Lane), who becomes Willy’s guide, accomplice and friend.\u003c/p>\n\u003cp>I delayed putting “singing” and “Willy” in the same paragraph as long as I could, but the time has come to remind moviemakers of the second law of speculative metaphysics: Don’t begin your movie with a non-musical actor singing. Yes, Anne Hathaway won an Oscar for croaking her way through \u003cem>Les Misérables\u003c/em>. Yes, Leos Carax put Adam Driver front and center for the extended music video that opened \u003cem>Annette\u003c/em>. And yes, Timothée Chalamet succeeds in overcoming his uninspiring entrance with a typically generous, game and sporting performance.\u003c/p>\n\u003cfigure id=\"attachment_13939468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg\" alt=\"Young girl and man walk across street in muted Victorian clothes \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Calah Lane and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am reluctant to critique Chalamet’s voice — if Putin has kompromat on me, it involves karaoke — which is thin but not amateur-hour bad. I do lament Hollywood’s decades-long insistence on casting (supposedly) bankable dramatic stars as musical leads. The upside is that countless high school seniors in drama clubs around the world will say, “If Chalamet is a household name with a voice like that, imagine how far I can go!”\u003c/p>\n\u003cp>Neil Hannon’s songs are serviceable and often clever, but they don’t lodge themselves in the memory. And King, regrettably, gives only a couple of them the glorious musical-fantasy treatment that is the third law of speculative metaphysics: Everyday people on the street and trolley turn into chorus singers, random strangers coalesce in a choreographed dance, and the real world dissolves into a candy-cane snow globe of harmony and happiness. (\u003cem>Barbie\u003c/em> boasts more flamboyant musical numbers, for the record.)\u003c/p>\n\u003cp>And yet, for all my carping, I enjoyed \u003cem>Wonka\u003c/em>. Willy’s relentless crusade to open his own chocolate shop — to validate his late mother’s support rather than out of an innate entrepreneurial drive, so venture capitalists need not apply — never succumbs to corn-syrup treacle. The heartstrings-pulling sequences, which don’t especially work, are blessedly brief. Hugh Grant (as the movie’s lone Oompa-Loompa, and who needs a battalion of those wee folks when you have Hugh Grant?) shows up at the exact perfect moment to inject a shot of acerbic pomposity, like Bénédectine poured in a milk chocolate truffle, into Willy’s earnest endeavors.\u003c/p>\n\u003cfigure id=\"attachment_13939469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg\" alt=\"Man in top hat and Victorian clothes stands on angled trunk of tree with pink flowered branches and shiny red orbs hanging from it\" width=\"2000\" height=\"1053\" class=\"size-full wp-image-13939469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1536x809.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1920x1011.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Wonka.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931753",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Unlike Pixar’s movies, which provide ample jokes that sail over the kids’ heads and keep the adults alert and entertained, \u003cem>Wonka\u003c/em> doesn’t set out to be either hip or politically au courant. The villains of the piece are a chocolate cartel comprised of three purportedly independent merchants, and the principles of capitalism (other than bribing the police chief) aren’t satirized but ignored altogether. (\u003cem>Barbie\u003c/em> aced that assignment, thank you.)\u003c/p>\n\u003cp>And it’s OK that \u003cem>Wonka\u003c/em> aspires to be a simple crowd-pleaser whose implicit message is to stay true to your dreams and your friends. The movie works just fine as a feel-good family film at a moment when the future is not just unwritten but uncertain. Is it an instant addition to the shelf of timeless holiday classics? It needed a bit more magic to tip the scales decisively, but I wouldn’t bet against Willy in the long run. Even without fast-forwarding through his songs.\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>‘Wonka’ opens in theaters on Friday, Dec. 15, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13939435/wonka-review-timothee-chalamet-roald-dahl",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_10278",
"arts_977",
"arts_769",
"arts_585"
],
"featImg": "arts_13939466",
"label": "arts_140"
},
"arts_13938158": {
"type": "posts",
"id": "arts_13938158",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938158",
"score": null,
"sort": [
1701801327000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701801327,
"format": "aside",
"title": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"headTitle": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits | KQED",
"content": "\u003cfigure id=\"attachment_13938767\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png\" alt=\"A pale white woman with long black hair and exaggerated Victorian clothing stands in side profile, wind blowing through her hair, a deep blue sky behind her.\" width=\"1898\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Bella Baxter in ‘Poor Things.’ \u003ccite>(Searchlight Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you happen across a film critic this week who insists that \u003ca href=\"https://www.imdb.com/title/tt14230458/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_poor%2520things\">\u003cem>Poor Things\u003c/em>\u003c/a> is a bad movie, please make a mental note that a) they are lying, and b) they’re probably being a contrarian because they know every other critic on Earth is going to fall over themselves with glee to sing this movie’s praises.\u003c/p>\n\u003cp>Make no mistake, \u003cem>Poor Things\u003c/em> is a masterpiece — a visual one, a philosophical one and a feminist one. It will make you laugh, it will make you ruminate and it will fill you with defiant, rebellious thoughts that persist long after the movie is over. Once you’re tangled up in its surreal, sensuous, open-wide world, it’s quite impossible to not be thoroughly taken with \u003cem>Poor Things.\u003c/em> As taken, in fact, as all of the male suitors in the movie are with its unconventional heroine, Bella Baxter. (Played with magnificent abandon by Emma Stone.)\u003c/p>\n\u003cp>[aside postid='arts_13938620']Bella is the creation of Dr. Godwin “God” Baxter (Willem Dafoe), a man who bears the physical and mental scars of his father’s own medical experiments. (I’ll save you the details of exactly how he came up with Bella — it’s far more fun to find out by watching the movie.) Most people, including most of the medical students he teaches, laugh in God’s face. But not Bella. Bella loves God. God keeps Bella safe. God nourishes Bella.\u003c/p>\n\u003cp>At a certain point in her development however, Bella — imbued with a curiosity that has never been trounced by social conditioning or convention — insists she must see the world beyond the limited scope granted to her within God’s house. (No, the analogies are not that subtle.) Along comes a womanizing cad named Duncan Wedderburn (Mark Ruffalo in deliciously pompous form) who whisks Bella away from London and off to Portugal, Egypt and then finally to France.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vjm0udI77KU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bella’s journey is an odyssey in which she painstakingly immerses herself in parsing the meaning of life. At first, she can’t imagine why it’s not only about sexual indulgence — her insatiable, un-self-conscious appetites prompt her first desires to leave God’s house. And though her journey beyond begins thoroughly immersed in pure, unfettered pleasure, along the way she comes to understand inequality and cruelty, humanity’s basest survival instincts and man’s desire to cage or destroy all that is free and beautiful. (Including herself.)\u003c/p>\n\u003cp>Unimpeded by fear or social mores, Bella experiences each stage of her travels viscerally, unpretentiously and at face value. She lives in a manner that is gloriously unfiltered and untethered, leading to many laugh-out-loud moments. (“I must go punch that baby,” she casually announces in a ballroom after an infant starts crying. What follows is the most hilarious scene in the movie.)\u003c/p>\n\u003cp>Bella enthusiastically devours experiences and individuals that others might consider negative or grotesque in order to get to the lessons within. It helps that she is entirely incapable of taking anything happening around her personally, a skill that grants her exceptional problem-solving abilities — and provides not a few zingers. (At one point, she shuts down a passionate lover’s tiff by saying simply, “I feel this conversation has grown circular.” When called a “whore” in the street, she responds “We are our own means of production,” and keeps walking.)\u003c/p>\n\u003cp>[aside postid='arts_13938358']At its core, \u003cem>Poor Things\u003c/em> is not terribly different from Henry David Thoreau’s famous quote about “sucking the marrow out of life.” Like Thoreau, Bella wishes “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Where \u003cem>Poor Things\u003c/em> excels far beyond that concept is in its stunning execution. The script is a marvel. The costumes are breathtakingly imaginative — an awards sweep waiting to happen. The sets are imbued with art itself, calling to mind the colorscape of Klimt, the twisted wit of Salvador Dali and the sensitivity of Frida Kahlo. Ultimately, the movie’s vision also reflects how Bella sees the world at any given moment. (At God’s house, everything is black and white and fisheye lenses. Outside, her adventures are in hypercolor.)\u003c/p>\n\u003cp>At the beginning of \u003cem>Poor Things\u003c/em>, Bella appears an aberration, much like the strange animal hybrids that also roam freely in God’s house. Ultimately, though, by moving through life unencumbered by human ego, Bella Baxter offers not only a rewarding two and a half hours of entertainment, but lessons to enthusiastically live by.\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>‘Poor Things’ opens in San Francisco at the \u003ca href=\"https://drafthouse.com/sf/show/poor-things\">Alamo Drafthouse\u003c/a> and \u003ca href=\"https://www.amctheatres.com/movies/poor-things-early-access-75493\">AMC Metreon\u003c/a> on Dec. 5 and hits theaters nationwide on Dec. 8.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 855,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705535532,
"excerpt": "Yorgos Lanthimos’ latest movie will leave you wanting to commit many wanton acts of rebellion... while exquisitely dressed.",
"headData": {
"twImgId": "",
"twTitle": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"socialTitle": "‘Poor Things’ Review: An Anarchic, Artistic Celebration of Life %%page%% %%sep%% KQED",
"ogTitle": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"ogImgId": "",
"twDescription": "",
"description": "Yorgos Lanthimos’ latest movie will leave you wanting to commit many wanton acts of rebellion... while exquisitely dressed.",
"title": "‘Poor Things’ Review: An Anarchic, Artistic Celebration of Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Poor Things’ Is a Gloriously Anarchic Celebration of Life Without Limits",
"datePublished": "2023-12-05T10:35:27-08:00",
"dateModified": "2024-01-17T15:52:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938767\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png\" alt=\"A pale white woman with long black hair and exaggerated Victorian clothing stands in side profile, wind blowing through her hair, a deep blue sky behind her.\" width=\"1898\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Bella Baxter in ‘Poor Things.’ \u003ccite>(Searchlight Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you happen across a film critic this week who insists that \u003ca href=\"https://www.imdb.com/title/tt14230458/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_poor%2520things\">\u003cem>Poor Things\u003c/em>\u003c/a> is a bad movie, please make a mental note that a) they are lying, and b) they’re probably being a contrarian because they know every other critic on Earth is going to fall over themselves with glee to sing this movie’s praises.\u003c/p>\n\u003cp>Make no mistake, \u003cem>Poor Things\u003c/em> is a masterpiece — a visual one, a philosophical one and a feminist one. It will make you laugh, it will make you ruminate and it will fill you with defiant, rebellious thoughts that persist long after the movie is over. Once you’re tangled up in its surreal, sensuous, open-wide world, it’s quite impossible to not be thoroughly taken with \u003cem>Poor Things.\u003c/em> As taken, in fact, as all of the male suitors in the movie are with its unconventional heroine, Bella Baxter. (Played with magnificent abandon by Emma Stone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938620",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Bella is the creation of Dr. Godwin “God” Baxter (Willem Dafoe), a man who bears the physical and mental scars of his father’s own medical experiments. (I’ll save you the details of exactly how he came up with Bella — it’s far more fun to find out by watching the movie.) Most people, including most of the medical students he teaches, laugh in God’s face. But not Bella. Bella loves God. God keeps Bella safe. God nourishes Bella.\u003c/p>\n\u003cp>At a certain point in her development however, Bella — imbued with a curiosity that has never been trounced by social conditioning or convention — insists she must see the world beyond the limited scope granted to her within God’s house. (No, the analogies are not that subtle.) Along comes a womanizing cad named Duncan Wedderburn (Mark Ruffalo in deliciously pompous form) who whisks Bella away from London and off to Portugal, Egypt and then finally to France.\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/vjm0udI77KU'\n title='//www.youtube.com/embed/vjm0udI77KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bella’s journey is an odyssey in which she painstakingly immerses herself in parsing the meaning of life. At first, she can’t imagine why it’s not only about sexual indulgence — her insatiable, un-self-conscious appetites prompt her first desires to leave God’s house. And though her journey beyond begins thoroughly immersed in pure, unfettered pleasure, along the way she comes to understand inequality and cruelty, humanity’s basest survival instincts and man’s desire to cage or destroy all that is free and beautiful. (Including herself.)\u003c/p>\n\u003cp>Unimpeded by fear or social mores, Bella experiences each stage of her travels viscerally, unpretentiously and at face value. She lives in a manner that is gloriously unfiltered and untethered, leading to many laugh-out-loud moments. (“I must go punch that baby,” she casually announces in a ballroom after an infant starts crying. What follows is the most hilarious scene in the movie.)\u003c/p>\n\u003cp>Bella enthusiastically devours experiences and individuals that others might consider negative or grotesque in order to get to the lessons within. It helps that she is entirely incapable of taking anything happening around her personally, a skill that grants her exceptional problem-solving abilities — and provides not a few zingers. (At one point, she shuts down a passionate lover’s tiff by saying simply, “I feel this conversation has grown circular.” When called a “whore” in the street, she responds “We are our own means of production,” and keeps walking.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938358",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Poor Things\u003c/em> is not terribly different from Henry David Thoreau’s famous quote about “sucking the marrow out of life.” Like Thoreau, Bella wishes “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Where \u003cem>Poor Things\u003c/em> excels far beyond that concept is in its stunning execution. The script is a marvel. The costumes are breathtakingly imaginative — an awards sweep waiting to happen. The sets are imbued with art itself, calling to mind the colorscape of Klimt, the twisted wit of Salvador Dali and the sensitivity of Frida Kahlo. Ultimately, the movie’s vision also reflects how Bella sees the world at any given moment. (At God’s house, everything is black and white and fisheye lenses. Outside, her adventures are in hypercolor.)\u003c/p>\n\u003cp>At the beginning of \u003cem>Poor Things\u003c/em>, Bella appears an aberration, much like the strange animal hybrids that also roam freely in God’s house. Ultimately, though, by moving through life unencumbered by human ego, Bella Baxter offers not only a rewarding two and a half hours of entertainment, but lessons to enthusiastically live by.\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>‘Poor Things’ opens in San Francisco at the \u003ca href=\"https://drafthouse.com/sf/show/poor-things\">Alamo Drafthouse\u003c/a> and \u003ca href=\"https://www.amctheatres.com/movies/poor-things-early-access-75493\">AMC Metreon\u003c/a> on Dec. 5 and hits theaters nationwide on Dec. 8.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_769",
"arts_585"
],
"featImg": "arts_13939926",
"label": "arts_140"
},
"arts_13938155": {
"type": "posts",
"id": "arts_13938155",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13938155",
"score": null,
"sort": [
1701205805000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1701205805,
"format": "aside",
"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\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>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 949,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705535577,
"excerpt": "A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.",
"headData": {
"twImgId": "",
"twTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"socialTitle": "‘Thriller 40’ Review: Remembering Michael Jackson’s Early Magic%%page%% %%sep%% KQED",
"ogTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"ogImgId": "",
"twDescription": "",
"description": "A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.",
"title": "‘Thriller 40’ Review: Remembering Michael Jackson’s Early Magic | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"datePublished": "2023-11-28T13:10:05-08:00",
"dateModified": "2024-01-17T15:52:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13938155/thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13910810",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\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>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\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>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13938155/thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_10493",
"arts_13672",
"arts_10278",
"arts_4919",
"arts_925",
"arts_769",
"arts_8404",
"arts_585"
],
"featImg": "arts_13938611",
"label": "arts_140"
},
"arts_13937668": {
"type": "posts",
"id": "arts_13937668",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13937668",
"score": null,
"sort": [
1699386656000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1699386656,
"format": "standard",
"title": "In Mills College Art Museum Show, Technology Becomes an Active Collaborator",
"headTitle": "In Mills College Art Museum Show, Technology Becomes an Active Collaborator | KQED",
"content": "\u003cp>For at least 15 years, I’ve been trying to break up with my smartphone. Banning it from the bedroom at night, only to long for its dim glow. Exchanging it for a flip phone, then exchanging it back.\u003c/p>\n\u003cp>The problem is actually bigger than my phone. Digital technology makes me passive. Instead of doing things with it, things happen \u003cem>to\u003c/em> me. Texts accrue. Photos amass. I seem stuck to the screen. Sometimes, I don’t even know where my body ends and the technology begins.\u003c/p>\n\u003cp>Like the rest of us, I’ve been inundated lately by images of slaughter, armament and exile. But I’ve also been inspired by images of protest, plea, and resistance. I’ve begun asking myself: does technology cause me to be more passive, or can it inspire me to become more active?\u003c/p>\n\u003cp>That question also lies at the center of the Mills College Art Museum’s annual \u003ca href=\"https://mcam.mills.edu/about/api-exhibition-2023.php\">Art+Process+Ideas residency exhibition\u003c/a>, on view through Dec. 3. Each of the Bay Area artists featured in this year’s exhibit — \u003ca href=\"https://www.liatberdugo.com/\">Liat Berdugo\u003c/a>, \u003ca href=\"https://www.ranumukherjee.com/\">Ranu Mukherjee\u003c/a> and \u003ca href=\"https://www.heesookwon.com/\">Heesoo Kwon\u003c/a> — answers by embracing digital technology as an active collaborator. Their work demands, even revels in, crossing boundaries of space and time.\u003c/p>\n\u003cfigure id=\"attachment_13937688\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Mills.jpg\" alt=\"White building with ornate entrance and a tiled roof bears signs for museum and show\" width=\"1024\" height=\"767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-768x575.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Mills College Art Museum’s Art+Process+Ideas program was established in 2015 to support Bay Area artists with a residency and exhibition. \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nestled into the northern corner of the campus, the MCAM can feel anachronistic: the building’s Spanish colonial style resembles some sort of rural monastery, while the gentle roar of Interstate 580 traffic lingers overhead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But once inside, the A+P+I exhibit is distinctly contemporary. Liat Berdugo’s \u003cem>Seeing It for the Trees\u003c/em> greets visitors with a multimedia piece that explores her Israeli American heritage and the experience of motherhood during the pandemic. Berdugo scraped the digital, photographic archive of Keren Kayemet L’Israel – Jewish National Fund. Founded in 1901, the organization originally encouraged diasporic Jews to sponsor the planting of trees on Ottoman-controlled land; today, it continues to play a role in Zionist nation building.\u003c/p>\n\u003cp>In the museum, walls are covered with 22,000 images Berdugo culled from the KKL-JNF archive. Some picture children playing, others tanks patrolling; Berdugo describes the overall rhythm as “survey,” “build,” “plant” and “guard.” The collection can be overwhelming: it makes the experience of a massive digital archive — usually reduced to a swipe — palpable and impending. On a return visit, it felt like a digital Western Wall; I looked for cracks between the images of war in which I could place a prayer.\u003c/p>\n\u003cfigure id=\"attachment_13937684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_archive.jpg\" alt=\"Gallery wall covered with thousands of small images as wallpaper, shelf with books at right\" width=\"1024\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-768x524.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A view of Liat Berdugo’s ‘Seeing It For the Trees’ at Mills College Art Museum. \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all great feminist art, \u003cem>Seeing It For the Trees\u003c/em> is political but also deeply personal. To bring the archive closer to home, Berdugo created a bot to send one image to her phone every hour. It was a kind of artistic prompt, one that engaged the interruptive rhythms of being an artist parent during the pandemic. An accompanying film installation features some of these single images in the context of a Zoom call between Berdugo and her father, who disagrees with her politics wholesale. “What do you see in this image,” she keeps asking him. There’s something deeply touching about watching them grasp for a common language, even if they can’t find it.\u003c/p>\n\u003cp>Fellow A+P+I artist Ranu Mukherjee also explores the relationship between trees and digital technology, albeit in a more abstract sense. In \u003cem>Ensemble for Non-Linear Time\u003c/em>, a “hybrid film” toward the back of the museum, she collaborates with choreographer Hope Mohr to orchestrate five dancers as they improvise arboreal movements. Set against a green screen, images of existing and painted forest flicker in and out. Digital technology, in Mukherjee’s work, activates the interdependency between the human and the non-human, and even questions the distinction. Asked about the role of motherhood in her work, Mukherjee echoes Rebecca Solnit, saying “you can be mothered by things other than humans.”\u003c/p>\n\u003cfigure id=\"attachment_13937680\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DSC00832.jpg\" alt=\"Two dancers lean against each other while audience watches in gallery, floor is covered with colorful patterns\" width=\"1024\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-768x455.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen and Jay Carlon perform ‘float the mark’ on a floor piece by Ranu Mukherjee at the Mills College Art Museum. \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of the exhibition is another Mohr/Mukherjee collaboration, a 420-square-foot floor installation titled \u003cem>this is a map of a mine in a forest/this is a drawing/this is a dance floor/this is a question/this is an invitation\u003c/em>. The piece gestures toward the “paradox of sustainability” — or what Mukherjee describes as the painful truth that “as we move toward more sustainable energy source, we still have to mine.”\u003c/p>\n\u003cp>But the installation is playful, almost childlike, full of glowing primary colors and Seussian arrows. The title of the piece came alive on Sept. 30, when \u003ca href=\"https://www.hopemohr.org/mukherjee\">two dancers improvised across its surface\u003c/a>. Dressed in soft pastels, as if they had fallen out of one of Mukherjee’s nearby collages, they moved with athleticism and grace, eliciting and then refusing each other’s embrace. Towards the end of the performance, a young boy in the audience stood up and lifted his leg over his sister’s head. In this moment, the artwork merged with its audience, and time stood still.\u003c/p>\n\u003cp>Time never settles for the exhibition’s third artist, Heesoo Kwon, who embraces digital technology to mine her own personal history. (This is the only kind of mining, I think, that could lead to any sustainable future.) Kwon’s work stems from a trip home to Korea, where her mother issued a familiar refrain: \u003cem>get rid of these boxes\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13937685\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Kwon_video.jpg\" alt=\"Ghostly CGI nude woman sits above table as men dine in a restaurant\" width=\"1024\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-768x523.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A still from Heesoo Kwon’s ‘A Ritual For Metamorphosis.’ \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Kwon revisited these old videos and photos, she saw her mother mostly in the kitchen and her father wielding the camera like some in-house ethnographer. Kwon’s work at MCAM mediates these images with digital avatars she calls “Leymusoom.” The neologism stems from the Korean word 무성별, or “agender,” and it refers not just to the animated figures but also to a religion she created inspired by Korean Shamanism.\u003c/p>\n\u003cp>The Leymusoom aesthetic thus offers a direct challenge to the misogyny and religious authoritarianism of her upbringing. The video piece \u003cem>A Ritual For Metamorphosis\u003c/em> re-presents home footage populated by these digital avatars. In one scene, a nude, animated version of the artist interrupts her parent’s wedding. In another, a reptilian Leymusoom hovers around religious iconography. The sound of this piece, a galloping quake, haunts the museum’s high, ornamented ceilings.\u003c/p>\n\u003cp>In \u003cem>2023 Leymusoom Firefly, Il-won-dong 1990–1996\u003c/em>, Kwon situates old family photos in the middle of a digital canvas, then uses the artificial intelligence tool Adobe Firefly to expand the scene beyond its border. The effect is a series of haunting images in which realism decays as the eye moves outward. Objects morph and human-like figures emerge. A frame is to an image what the present is to the past: it separates now from then. But by embracing digital technology, Kwon reminds us that memory is never so simple.\u003c/p>\n\u003cfigure id=\"attachment_13937683\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Kwon_print.jpg\" alt=\"Family photo at center of larger print with dark shadowy edges and a blurry figure\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A print from Heesoo Kwon’s series ‘2023 Leymusoom Firefly, Il-won-dong 1990–1996.’ \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This question of how to represent the transition into a technological present extends beyond the museum to a campus in flux. After years of financial troubles, Mills was acquired by Northeastern University in 2022, which describes itself as academically positioned “at the intersection of technology, healthcare, science and business.” There are no longer any MFA programs offered on campus, and though a small cohort of legacy Mills students remain, most of the campus is made up of first-year undergrads and graduate students.\u003c/p>\n\u003cp>[aside postID='news_11914203']The A+P+I residency program, now in its seventh year, precedes the Northeastern merger, offering what MCAM Director Stephanie Hanor describes as a “laboratory.” Combining financial support and studio space, artists are encouraged to develop new work, and stage talks and performances on campus. All of this year’s A+P+I artists said that working at Mills was a kind of refuge: Kwon described it as “cozy” and Mukherjee as a “quiet” second studio space.\u003c/p>\n\u003cp>While the museum is clearly a holdout for the visual arts on campus, it doesn’t shy away from engaging a technology-focused student body. Hanor says that students taking arts and humanities electives are invited into the museum for class visits, and that the school’s curriculum has yet to be finalized, offering hope for more hands-on arts offerings. Because of the Northeastern merger, budgets have finally been met: the museum now has an ADA-compliant entrance for the first time in its history. Still, I worry about the museumification of the arts more generally: that universities like Northeastern can justify slashing the humanities by shifting not only art but the study of art into museum spaces.\u003c/p>\n\u003cp>The artists of the A+P+I program don’t shy away from the politics of the merger. In a video installation entitled \u003cem>Shattered Reflections\u003c/em>, Berdugo asks ChatGPT to draft lyrics for a student protest at a campus art museum, effectively turning the technology into a karaoke machine. Time spent in the A+P+I exhibition reveals just how each of the artists, sometimes explicitly and sometimes subtly, explores the tensions of a changing campus — and a changing world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Art+Process+Ideas: Liat Berdugo, Heesoo Kwon, Ranu Mukherjee’ is on view at the Mills College Art Museum through Dec. 3.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1664,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705003125,
"excerpt": "Liat Berdugo, Heesoo Kwon and Ranu Mukherjee present new work that crosses boundaries of space and time.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "At Mills, Technology Becomes an Artistic Collaborator %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Liat Berdugo, Heesoo Kwon and Ranu Mukherjee present new work that crosses boundaries of space and time.",
"title": "At Mills, Technology Becomes an Artistic Collaborator | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Mills College Art Museum Show, Technology Becomes an Active Collaborator",
"datePublished": "2023-11-07T11:50:56-08:00",
"dateModified": "2024-01-11T11:58:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mills-college-art-museum-art-process-ideas-2023-review",
"status": "publish",
"templateType": "standard",
"nprByline": "Alexander Ullman",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13937668/mills-college-art-museum-art-process-ideas-2023-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For at least 15 years, I’ve been trying to break up with my smartphone. Banning it from the bedroom at night, only to long for its dim glow. Exchanging it for a flip phone, then exchanging it back.\u003c/p>\n\u003cp>The problem is actually bigger than my phone. Digital technology makes me passive. Instead of doing things with it, things happen \u003cem>to\u003c/em> me. Texts accrue. Photos amass. I seem stuck to the screen. Sometimes, I don’t even know where my body ends and the technology begins.\u003c/p>\n\u003cp>Like the rest of us, I’ve been inundated lately by images of slaughter, armament and exile. But I’ve also been inspired by images of protest, plea, and resistance. I’ve begun asking myself: does technology cause me to be more passive, or can it inspire me to become more active?\u003c/p>\n\u003cp>That question also lies at the center of the Mills College Art Museum’s annual \u003ca href=\"https://mcam.mills.edu/about/api-exhibition-2023.php\">Art+Process+Ideas residency exhibition\u003c/a>, on view through Dec. 3. Each of the Bay Area artists featured in this year’s exhibit — \u003ca href=\"https://www.liatberdugo.com/\">Liat Berdugo\u003c/a>, \u003ca href=\"https://www.ranumukherjee.com/\">Ranu Mukherjee\u003c/a> and \u003ca href=\"https://www.heesookwon.com/\">Heesoo Kwon\u003c/a> — answers by embracing digital technology as an active collaborator. Their work demands, even revels in, crossing boundaries of space and time.\u003c/p>\n\u003cfigure id=\"attachment_13937688\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Mills.jpg\" alt=\"White building with ornate entrance and a tiled roof bears signs for museum and show\" width=\"1024\" height=\"767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Mills-768x575.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Mills College Art Museum’s Art+Process+Ideas program was established in 2015 to support Bay Area artists with a residency and exhibition. \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nestled into the northern corner of the campus, the MCAM can feel anachronistic: the building’s Spanish colonial style resembles some sort of rural monastery, while the gentle roar of Interstate 580 traffic lingers overhead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But once inside, the A+P+I exhibit is distinctly contemporary. Liat Berdugo’s \u003cem>Seeing It for the Trees\u003c/em> greets visitors with a multimedia piece that explores her Israeli American heritage and the experience of motherhood during the pandemic. Berdugo scraped the digital, photographic archive of Keren Kayemet L’Israel – Jewish National Fund. Founded in 1901, the organization originally encouraged diasporic Jews to sponsor the planting of trees on Ottoman-controlled land; today, it continues to play a role in Zionist nation building.\u003c/p>\n\u003cp>In the museum, walls are covered with 22,000 images Berdugo culled from the KKL-JNF archive. Some picture children playing, others tanks patrolling; Berdugo describes the overall rhythm as “survey,” “build,” “plant” and “guard.” The collection can be overwhelming: it makes the experience of a massive digital archive — usually reduced to a swipe — palpable and impending. On a return visit, it felt like a digital Western Wall; I looked for cracks between the images of war in which I could place a prayer.\u003c/p>\n\u003cfigure id=\"attachment_13937684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Berdugo_archive.jpg\" alt=\"Gallery wall covered with thousands of small images as wallpaper, shelf with books at right\" width=\"1024\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Berdugo_archive-768x524.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A view of Liat Berdugo’s ‘Seeing It For the Trees’ at Mills College Art Museum. \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all great feminist art, \u003cem>Seeing It For the Trees\u003c/em> is political but also deeply personal. To bring the archive closer to home, Berdugo created a bot to send one image to her phone every hour. It was a kind of artistic prompt, one that engaged the interruptive rhythms of being an artist parent during the pandemic. An accompanying film installation features some of these single images in the context of a Zoom call between Berdugo and her father, who disagrees with her politics wholesale. “What do you see in this image,” she keeps asking him. There’s something deeply touching about watching them grasp for a common language, even if they can’t find it.\u003c/p>\n\u003cp>Fellow A+P+I artist Ranu Mukherjee also explores the relationship between trees and digital technology, albeit in a more abstract sense. In \u003cem>Ensemble for Non-Linear Time\u003c/em>, a “hybrid film” toward the back of the museum, she collaborates with choreographer Hope Mohr to orchestrate five dancers as they improvise arboreal movements. Set against a green screen, images of existing and painted forest flicker in and out. Digital technology, in Mukherjee’s work, activates the interdependency between the human and the non-human, and even questions the distinction. Asked about the role of motherhood in her work, Mukherjee echoes Rebecca Solnit, saying “you can be mothered by things other than humans.”\u003c/p>\n\u003cfigure id=\"attachment_13937680\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DSC00832.jpg\" alt=\"Two dancers lean against each other while audience watches in gallery, floor is covered with colorful patterns\" width=\"1024\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DSC00832-768x455.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen and Jay Carlon perform ‘float the mark’ on a floor piece by Ranu Mukherjee at the Mills College Art Museum. \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of the exhibition is another Mohr/Mukherjee collaboration, a 420-square-foot floor installation titled \u003cem>this is a map of a mine in a forest/this is a drawing/this is a dance floor/this is a question/this is an invitation\u003c/em>. The piece gestures toward the “paradox of sustainability” — or what Mukherjee describes as the painful truth that “as we move toward more sustainable energy source, we still have to mine.”\u003c/p>\n\u003cp>But the installation is playful, almost childlike, full of glowing primary colors and Seussian arrows. The title of the piece came alive on Sept. 30, when \u003ca href=\"https://www.hopemohr.org/mukherjee\">two dancers improvised across its surface\u003c/a>. Dressed in soft pastels, as if they had fallen out of one of Mukherjee’s nearby collages, they moved with athleticism and grace, eliciting and then refusing each other’s embrace. Towards the end of the performance, a young boy in the audience stood up and lifted his leg over his sister’s head. In this moment, the artwork merged with its audience, and time stood still.\u003c/p>\n\u003cp>Time never settles for the exhibition’s third artist, Heesoo Kwon, who embraces digital technology to mine her own personal history. (This is the only kind of mining, I think, that could lead to any sustainable future.) Kwon’s work stems from a trip home to Korea, where her mother issued a familiar refrain: \u003cem>get rid of these boxes\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13937685\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Kwon_video.jpg\" alt=\"Ghostly CGI nude woman sits above table as men dine in a restaurant\" width=\"1024\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_video-768x523.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A still from Heesoo Kwon’s ‘A Ritual For Metamorphosis.’ \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Kwon revisited these old videos and photos, she saw her mother mostly in the kitchen and her father wielding the camera like some in-house ethnographer. Kwon’s work at MCAM mediates these images with digital avatars she calls “Leymusoom.” The neologism stems from the Korean word 무성별, or “agender,” and it refers not just to the animated figures but also to a religion she created inspired by Korean Shamanism.\u003c/p>\n\u003cp>The Leymusoom aesthetic thus offers a direct challenge to the misogyny and religious authoritarianism of her upbringing. The video piece \u003cem>A Ritual For Metamorphosis\u003c/em> re-presents home footage populated by these digital avatars. In one scene, a nude, animated version of the artist interrupts her parent’s wedding. In another, a reptilian Leymusoom hovers around religious iconography. The sound of this piece, a galloping quake, haunts the museum’s high, ornamented ceilings.\u003c/p>\n\u003cp>In \u003cem>2023 Leymusoom Firefly, Il-won-dong 1990–1996\u003c/em>, Kwon situates old family photos in the middle of a digital canvas, then uses the artificial intelligence tool Adobe Firefly to expand the scene beyond its border. The effect is a series of haunting images in which realism decays as the eye moves outward. Objects morph and human-like figures emerge. A frame is to an image what the present is to the past: it separates now from then. But by embracing digital technology, Kwon reminds us that memory is never so simple.\u003c/p>\n\u003cfigure id=\"attachment_13937683\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Kwon_print.jpg\" alt=\"Family photo at center of larger print with dark shadowy edges and a blurry figure\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Kwon_print-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A print from Heesoo Kwon’s series ‘2023 Leymusoom Firefly, Il-won-dong 1990–1996.’ \u003ccite>(Sloane Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This question of how to represent the transition into a technological present extends beyond the museum to a campus in flux. After years of financial troubles, Mills was acquired by Northeastern University in 2022, which describes itself as academically positioned “at the intersection of technology, healthcare, science and business.” There are no longer any MFA programs offered on campus, and though a small cohort of legacy Mills students remain, most of the campus is made up of first-year undergrads and graduate students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11914203",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The A+P+I residency program, now in its seventh year, precedes the Northeastern merger, offering what MCAM Director Stephanie Hanor describes as a “laboratory.” Combining financial support and studio space, artists are encouraged to develop new work, and stage talks and performances on campus. All of this year’s A+P+I artists said that working at Mills was a kind of refuge: Kwon described it as “cozy” and Mukherjee as a “quiet” second studio space.\u003c/p>\n\u003cp>While the museum is clearly a holdout for the visual arts on campus, it doesn’t shy away from engaging a technology-focused student body. Hanor says that students taking arts and humanities electives are invited into the museum for class visits, and that the school’s curriculum has yet to be finalized, offering hope for more hands-on arts offerings. Because of the Northeastern merger, budgets have finally been met: the museum now has an ADA-compliant entrance for the first time in its history. Still, I worry about the museumification of the arts more generally: that universities like Northeastern can justify slashing the humanities by shifting not only art but the study of art into museum spaces.\u003c/p>\n\u003cp>The artists of the A+P+I program don’t shy away from the politics of the merger. In a video installation entitled \u003cem>Shattered Reflections\u003c/em>, Berdugo asks ChatGPT to draft lyrics for a student protest at a campus art museum, effectively turning the technology into a karaoke machine. Time spent in the A+P+I exhibition reveals just how each of the artists, sometimes explicitly and sometimes subtly, explores the tensions of a changing campus — and a changing world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\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>\u003ci>‘Art+Process+Ideas: Liat Berdugo, Heesoo Kwon, Ranu Mukherjee’ is on view at the Mills College Art Museum through Dec. 3.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13937668/mills-college-art-museum-art-process-ideas-2023-review",
"authors": [
"byline_arts_13937668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10278",
"arts_769",
"arts_585",
"arts_901"
],
"featImg": "arts_13937682",
"label": "arts_140"
},
"arts_13937140": {
"type": "posts",
"id": "arts_13937140",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13937140",
"score": null,
"sort": [
1699384407000
]
},
"guestAuthors": [],
"slug": "donna-and-ally-movie-review-oakland-cousin-shy-quin-qui",
"title": "‘Donna and Ally’ Is a Heartwarming Ode to Friends, Hustling and Oakland Itself",
"publishDate": 1699384407,
"format": "standard",
"headTitle": "‘Donna and Ally’ Is a Heartwarming Ode to Friends, Hustling and Oakland Itself | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Let’s get this out of the way: \u003cem>Donna and Ally\u003c/em> is not a polished movie. Hell, it’s not even a movie that always entirely makes sense. But it is a movie that — over the course of 83 minutes — will win you over with heart and humor. Most importantly, it has two lead characters with whom you might just fall head-over-heels in love.\u003c/p>\n\u003cp>[aside postid='arts_13832451']Set in Oakland, the story is about Ally (played by rapper \u003ca href=\"https://www.kqed.org/arts/13845940/after-a-high-speed-police-chase-a-female-rapper-endures-raps-double-standard\">Qing Qi\u003c/a>) and Donna (Cousin Shy, who also wrote and executive produced the movie) who’ve been best friends since the teen years they spent in a group home together. Since running away from the home at 16 years old, the duo has been hustling to survive and dreaming of a day when they wouldn’t just be scraping by anymore. A major hindrance to their success: Donna’s temper. When facing any kind of criticism or threat, Donna launches herself at the problem with both fists first, and leaves it to Ally to worry about the consequences later.\u003c/p>\n\u003cp>After losing their jobs at a local strip club, Donna and Ally must get extra creative to make rent. When a guy Donna punched at the club tracks her down and asks for more of the same, the duo set up a dominatrix dungeon in their studio apartment. It’s there that Donna finally figures out how to turn her inner rage into cold, hard cash — whipping, beating and humiliating people who actually enjoy it — and Ally turns into the boss she always knew she could be.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPfD7y0vuH0\u003c/p>\n\u003cp>Often absurd, and awash with winks and nods to the audience, \u003cem>Donna and Ally\u003c/em> is held together by the realistic and endearing friendship at its center. Shy and Qi both shine in their roles, even when faced with some decidedly clunky acting from a couple of the side characters. Both women also have a delightful knack for delivering dry humor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shy is radiant and memorable on screen, but it’s Qi’s consistently unselfconscious performance that ultimately steals the show. (The sight of her lying spreadeagled on a giant inflatable swan inside a tiny inflatable pool belongs on a line of T-shirts.) Qi’s music also offers the perfect soundtrack to this story, with “\u003ca href=\"https://www.youtube.com/watch?v=EGc-GzV1NK4\">IDWIW\u003c/a>” an outstanding anthem for these rebellious entrepreneurs. (The twosome’s ridiculous dance routine to “\u003ca href=\"https://www.youtube.com/watch?v=-GMMKS125kA\">Talking on the Phone Is Cancerous\u003c/a>” is also a high point.)\u003c/p>\n\u003cp>[aside postid='arts_13937068']When the credits roll, \u003cem>Donna and Ally\u003c/em> isn’t quite the “Oakland Cinderella Story” it proclaims to be. Not because there isn’t true love at the center of it — there’s plenty of that — but because the love doesn’t come from some fantasy prince. Rather, at its core, this is a tale about women supporting other women and the enduring value of female friendships. By the end of it, you’ll wish Donna and Ally, messy as they are, were your best friends too.\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>‘\u003ca href=\"https://www.donnaandally.com/\">Donna and Ally\u003c/a>’ premieres at Oakland’s New Parkway Theater (474 24th St.) on Nov. 11 at 7 p.m. \u003ca href=\"https://www.donnaandally.com/premiere-ticket/p/red-carpet-premiere\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The homegrown film about rebellious entrepreneurs is a perfect vehicle for rapper-actress Qing Qi’s talents.",
"status": "publish",
"parent": 0,
"modified": 1726771051,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 557
},
"headData": {
"title": "‘Donna and Ally’ Movie Review: Oakland Hustlers Are All Heart | KQED",
"description": "The homegrown film about rebellious entrepreneurs is a perfect vehicle for rapper-actress Qing Qi’s talents.",
"ogTitle": "‘Donna and Ally’ is a Heartwarming Ode to Friends, Hustling and Oakland Itself",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Donna and Ally’ is a Heartwarming Ode to Friends, Hustling and Oakland Itself",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Donna and Ally’ Movie Review: Oakland Hustlers Are All Heart %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Donna and Ally’ Is a Heartwarming Ode to Friends, Hustling and Oakland Itself",
"datePublished": "2023-11-07T11:13:27-08:00",
"dateModified": "2024-09-19T11:37:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13937140/donna-and-ally-movie-review-oakland-cousin-shy-quin-qui",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way: \u003cem>Donna and Ally\u003c/em> is not a polished movie. Hell, it’s not even a movie that always entirely makes sense. But it is a movie that — over the course of 83 minutes — will win you over with heart and humor. Most importantly, it has two lead characters with whom you might just fall head-over-heels in love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13832451",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Set in Oakland, the story is about Ally (played by rapper \u003ca href=\"https://www.kqed.org/arts/13845940/after-a-high-speed-police-chase-a-female-rapper-endures-raps-double-standard\">Qing Qi\u003c/a>) and Donna (Cousin Shy, who also wrote and executive produced the movie) who’ve been best friends since the teen years they spent in a group home together. Since running away from the home at 16 years old, the duo has been hustling to survive and dreaming of a day when they wouldn’t just be scraping by anymore. A major hindrance to their success: Donna’s temper. When facing any kind of criticism or threat, Donna launches herself at the problem with both fists first, and leaves it to Ally to worry about the consequences later.\u003c/p>\n\u003cp>After losing their jobs at a local strip club, Donna and Ally must get extra creative to make rent. When a guy Donna punched at the club tracks her down and asks for more of the same, the duo set up a dominatrix dungeon in their studio apartment. It’s there that Donna finally figures out how to turn her inner rage into cold, hard cash — whipping, beating and humiliating people who actually enjoy it — and Ally turns into the boss she always knew she could be.\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/YPfD7y0vuH0'\n title='//www.youtube.com/embed/YPfD7y0vuH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Often absurd, and awash with winks and nods to the audience, \u003cem>Donna and Ally\u003c/em> is held together by the realistic and endearing friendship at its center. Shy and Qi both shine in their roles, even when faced with some decidedly clunky acting from a couple of the side characters. Both women also have a delightful knack for delivering dry humor.\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>Shy is radiant and memorable on screen, but it’s Qi’s consistently unselfconscious performance that ultimately steals the show. (The sight of her lying spreadeagled on a giant inflatable swan inside a tiny inflatable pool belongs on a line of T-shirts.) Qi’s music also offers the perfect soundtrack to this story, with “\u003ca href=\"https://www.youtube.com/watch?v=EGc-GzV1NK4\">IDWIW\u003c/a>” an outstanding anthem for these rebellious entrepreneurs. (The twosome’s ridiculous dance routine to “\u003ca href=\"https://www.youtube.com/watch?v=-GMMKS125kA\">Talking on the Phone Is Cancerous\u003c/a>” is also a high point.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13937068",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When the credits roll, \u003cem>Donna and Ally\u003c/em> isn’t quite the “Oakland Cinderella Story” it proclaims to be. Not because there isn’t true love at the center of it — there’s plenty of that — but because the love doesn’t come from some fantasy prince. Rather, at its core, this is a tale about women supporting other women and the enduring value of female friendships. By the end of it, you’ll wish Donna and Ally, messy as they are, were your best friends too.\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>‘\u003ca href=\"https://www.donnaandally.com/\">Donna and Ally\u003c/a>’ premieres at Oakland’s New Parkway Theater (474 24th St.) on Nov. 11 at 7 p.m. \u003ca href=\"https://www.donnaandally.com/premiere-ticket/p/red-carpet-premiere\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13937140/donna-and-ally-movie-review-oakland-cousin-shy-quin-qui",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_10278",
"arts_1143",
"arts_769",
"arts_585"
],
"featImg": "arts_13937686",
"label": "arts_140"
},
"arts_13933946": {
"type": "posts",
"id": "arts_13933946",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13933946",
"score": null,
"sort": [
1698066184000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1698066184,
"format": "standard",
"title": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery",
"headTitle": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery | KQED",
"content": "\u003cp>We’ve seen bad love interests before. They’re handsome, smarmy and casually abusive. These characters are usually relegated to the sidelines as examples of who \u003ci data-stringify-type=\"italic\">not\u003c/i> to pursue. That is, unfortunately, not the case in \u003ci data-stringify-type=\"italic\">Fellow Travelers\u003c/i>, a new eight-part Showtime adaptation of Thomas Mallon’s 2007 novel.\u003c/p>\n\u003cp>[aside postid='arts_13933261']\u003cem>Fellow Travelers\u003c/em> is an epic love story that, at its core, hinges on gay lovers snatching moments together at sporadic points throughout their lives. More than half of the series, however, is set in McCarthy-era Washington, D.C. That’s an inherently difficult setting for any gay couple to thrive in, but the struggles faced by this pair would be far easier to watch if one of them didn’t behave like a self-centered, self-righteous jackass most of the time.\u003c/p>\n\u003cp>One gets the sense that the producers of \u003cem>Fellow Travelers\u003c/em> wanted said jackass, Hawk Fuller (played by Matt Bomer), to come across as a flawed and complicated man who has no choice but to keep his lover Tim Laughlin (Jonathan Bailey) at arm’s length because of the difficult times they’re living through. Instead, Hawk comes off as casually cruel, on a nonstop power trip and interested only in gratifying his own sexual needs and ego. (He’s basically Jon Hamm in \u003cem>Bridesmaids\u003c/em>, without the laughs.) Worse, Hawk is so dispassionate that not only is it impossible to feel invested in him as a character, it becomes difficult to care about submissive, moon-eyed Tim either. As a viewer, watching Tim willingly wolf down emotional scraps from Hawk, instead of finding someone better, remains frustrating for the entire first half of the series. (Hot bod aside, what does Tim even see in this guy?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k_zI9UwYNQo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true that the folks behind this adaptation are a who’s-who of queer pop culture content. The series was created by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>). And Nyswaner and Bomer executive produced with Robbie Rogers (\u003cem>My Policeman\u003c/em>) and Daniel Minahan (\u003cem>Halston\u003c/em>, \u003cem>American Crime Story: Versace\u003c/em>). But oh, what a difference it might have made had there been someone working on this series who had more experience presenting stories about LGBTQ folks who weren’t inherently doomed to tragedy in one form or another.\u003c/p>\n\u003cp>Sure, the (apparently also miserable) novel (I haven’t read it) dictates the circumstances. But some extra stolen moments of joy between our two protagonists would have gone a long way to explaining why they’re so into each other in the first place. As it stands, the only time they seem even vaguely happy together is in the bedroom. (Bravo to all of the steamy man sex in this series — that’s one of the things it actually does do with gusto.)\u003c/p>\n\u003cp>[aside postid='arts_13933974']\u003cem>Fellow Travelers\u003c/em> is not all bad. It’s an aesthetically pleasing period piece that gets much better in its second half. In the first, it does an excellent job of capturing the anxiety of being a member of the gay community during the \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/L/bo3614333.html\">Lavender Scare\u003c/a> of the 1950s. The sneaking around, the paranoia, the personal and professional risks at hand make for stressful viewing, but it’s certainly an interesting reflection of what the LGBTQ+ community went through during the McCarthy hearings.\u003c/p>\n\u003cp>The series is also aided by side characters who are worth rooting for. In particular, Black journalist Marcus (Jelani Alladin) and his lover Frankie (Noah J. Ricketts) who experience all of the hardships of Hawk and Ted with the added burden of dealing with flagrant racism at every turn.\u003c/p>\n\u003cfigure id=\"attachment_13935141\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13935141 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/frankie-final.png\" alt=\"A beautiful slender Black man sits in a bar looking content. He is wearing a white shirt, vest and bow tie.\" width=\"1662\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final.png 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1536x1033.png 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Frankie (Noah J. Ricketts): The one tiny beacon of gay joy in ‘Fellow Travelers.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Episodes 6 through 8 offer significant payoffs. Hawk and Tim get much less arduous to watch once the show moves into the 1960s. Marriage and family life turns Hawk into a more sensitive human, while Tim grows a spine in the process of joining the Army and later, becoming an anti-war activist. Allison Williams also puts in a wonderful — and impressively sympathetic — performance as Hawk’s wife Lucy, as she struggles to sustain a stable home despite the secrets her husband insists on keeping from her.\u003c/p>\n\u003cp>[aside postid='arts_13930323']Episodes 7 and 8 move to San Francisco in the late ’70s and early ’80s, meaning — yay! — there’s suddenly a healthy amount of Sylvester on the soundtrack. Don’t get too excited about the potential for joy though — the story remains dour as ever, hitting the Harvey Milk and George Moscone murders before ploughing face first into the AIDS crisis. Even a foxy little trip to Fire Island manages to go depressingly off the rails. (At least Frankie and Marcus are around and still being cute as hell.)\u003c/p>\n\u003cp>Truth be told, this series would have benefited from being about three hours shorter. The McCarthy-era portion of the show is unnecessarily protracted — something that comes into stark relief when later episodes skip through years and years at a time.\u003c/p>\n\u003cp>If you’re someone who (for some reason) can’t get enough tragic gay stories in your life, you will absolutely love the way \u003cem>Fellow Travelers\u003c/em> revels in its own sepia-toned misery. If a series of steamy sex scenes is enough to get you through hours of doom and gloom, then by all means, have at it. But for everyone else? Consider this series a kind of endurance test, one in which characters respond to small gifts by saying things like, “I can’t bear being this happy.”\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>‘\u003ca href=\"https://www.sho.com/fellow-travelers\">Fellow Travelers\u003c/a>’ begins streaming on Showtime and Paramount+ on Oct. 27, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 976,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705535666,
"excerpt": "This adaptation of Thomas Mallon’s 2007 novel revels in its own unhappiness, backdropped by McCarthyism, war and AIDS.",
"headData": {
"twImgId": "",
"twTitle": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery",
"socialTitle": "‘Fellow Travelers’ Review: LGBTQ Misery Dominates New Series %%page%% %%sep%% KQED",
"ogTitle": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery",
"ogImgId": "",
"twDescription": "",
"description": "This adaptation of Thomas Mallon’s 2007 novel revels in its own unhappiness, backdropped by McCarthyism, war and AIDS.",
"title": "‘Fellow Travelers’ Review: LGBTQ Misery Dominates New Series | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery",
"datePublished": "2023-10-23T06:03:04-07:00",
"dateModified": "2024-01-17T15:54:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fellow-travelers-showtime-series-review-lgbtq-mallon-misery",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13933946/fellow-travelers-showtime-series-review-lgbtq-mallon-misery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve seen bad love interests before. They’re handsome, smarmy and casually abusive. These characters are usually relegated to the sidelines as examples of who \u003ci data-stringify-type=\"italic\">not\u003c/i> to pursue. That is, unfortunately, not the case in \u003ci data-stringify-type=\"italic\">Fellow Travelers\u003c/i>, a new eight-part Showtime adaptation of Thomas Mallon’s 2007 novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13933261",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Fellow Travelers\u003c/em> is an epic love story that, at its core, hinges on gay lovers snatching moments together at sporadic points throughout their lives. More than half of the series, however, is set in McCarthy-era Washington, D.C. That’s an inherently difficult setting for any gay couple to thrive in, but the struggles faced by this pair would be far easier to watch if one of them didn’t behave like a self-centered, self-righteous jackass most of the time.\u003c/p>\n\u003cp>One gets the sense that the producers of \u003cem>Fellow Travelers\u003c/em> wanted said jackass, Hawk Fuller (played by Matt Bomer), to come across as a flawed and complicated man who has no choice but to keep his lover Tim Laughlin (Jonathan Bailey) at arm’s length because of the difficult times they’re living through. Instead, Hawk comes off as casually cruel, on a nonstop power trip and interested only in gratifying his own sexual needs and ego. (He’s basically Jon Hamm in \u003cem>Bridesmaids\u003c/em>, without the laughs.) Worse, Hawk is so dispassionate that not only is it impossible to feel invested in him as a character, it becomes difficult to care about submissive, moon-eyed Tim either. As a viewer, watching Tim willingly wolf down emotional scraps from Hawk, instead of finding someone better, remains frustrating for the entire first half of the series. (Hot bod aside, what does Tim even see in this guy?)\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/k_zI9UwYNQo'\n title='//www.youtube.com/embed/k_zI9UwYNQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true that the folks behind this adaptation are a who’s-who of queer pop culture content. The series was created by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>). And Nyswaner and Bomer executive produced with Robbie Rogers (\u003cem>My Policeman\u003c/em>) and Daniel Minahan (\u003cem>Halston\u003c/em>, \u003cem>American Crime Story: Versace\u003c/em>). But oh, what a difference it might have made had there been someone working on this series who had more experience presenting stories about LGBTQ folks who weren’t inherently doomed to tragedy in one form or another.\u003c/p>\n\u003cp>Sure, the (apparently also miserable) novel (I haven’t read it) dictates the circumstances. But some extra stolen moments of joy between our two protagonists would have gone a long way to explaining why they’re so into each other in the first place. As it stands, the only time they seem even vaguely happy together is in the bedroom. (Bravo to all of the steamy man sex in this series — that’s one of the things it actually does do with gusto.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13933974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Fellow Travelers\u003c/em> is not all bad. It’s an aesthetically pleasing period piece that gets much better in its second half. In the first, it does an excellent job of capturing the anxiety of being a member of the gay community during the \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/L/bo3614333.html\">Lavender Scare\u003c/a> of the 1950s. The sneaking around, the paranoia, the personal and professional risks at hand make for stressful viewing, but it’s certainly an interesting reflection of what the LGBTQ+ community went through during the McCarthy hearings.\u003c/p>\n\u003cp>The series is also aided by side characters who are worth rooting for. In particular, Black journalist Marcus (Jelani Alladin) and his lover Frankie (Noah J. Ricketts) who experience all of the hardships of Hawk and Ted with the added burden of dealing with flagrant racism at every turn.\u003c/p>\n\u003cfigure id=\"attachment_13935141\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13935141 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/frankie-final.png\" alt=\"A beautiful slender Black man sits in a bar looking content. He is wearing a white shirt, vest and bow tie.\" width=\"1662\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final.png 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1536x1033.png 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Frankie (Noah J. Ricketts): The one tiny beacon of gay joy in ‘Fellow Travelers.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Episodes 6 through 8 offer significant payoffs. Hawk and Tim get much less arduous to watch once the show moves into the 1960s. Marriage and family life turns Hawk into a more sensitive human, while Tim grows a spine in the process of joining the Army and later, becoming an anti-war activist. Allison Williams also puts in a wonderful — and impressively sympathetic — performance as Hawk’s wife Lucy, as she struggles to sustain a stable home despite the secrets her husband insists on keeping from her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930323",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Episodes 7 and 8 move to San Francisco in the late ’70s and early ’80s, meaning — yay! — there’s suddenly a healthy amount of Sylvester on the soundtrack. Don’t get too excited about the potential for joy though — the story remains dour as ever, hitting the Harvey Milk and George Moscone murders before ploughing face first into the AIDS crisis. Even a foxy little trip to Fire Island manages to go depressingly off the rails. (At least Frankie and Marcus are around and still being cute as hell.)\u003c/p>\n\u003cp>Truth be told, this series would have benefited from being about three hours shorter. The McCarthy-era portion of the show is unnecessarily protracted — something that comes into stark relief when later episodes skip through years and years at a time.\u003c/p>\n\u003cp>If you’re someone who (for some reason) can’t get enough tragic gay stories in your life, you will absolutely love the way \u003cem>Fellow Travelers\u003c/em> revels in its own sepia-toned misery. If a series of steamy sex scenes is enough to get you through hours of doom and gloom, then by all means, have at it. But for everyone else? Consider this series a kind of endurance test, one in which characters respond to small gifts by saying things like, “I can’t bear being this happy.”\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>‘\u003ca href=\"https://www.sho.com/fellow-travelers\">Fellow Travelers\u003c/a>’ begins streaming on Showtime and Paramount+ on Oct. 27, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13933946/fellow-travelers-showtime-series-review-lgbtq-mallon-misery",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10278",
"arts_3226",
"arts_769",
"arts_5422",
"arts_585"
],
"featImg": "arts_13935140",
"label": "arts_140"
},
"arts_13936714": {
"type": "posts",
"id": "arts_13936714",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13936714",
"score": null,
"sort": [
1697819887000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1697819887,
"format": "aside",
"title": "At SFMOMA, Pacita Abad’s Painted Textiles Stare Right Back",
"headTitle": "At SFMOMA, Pacita Abad’s Painted Textiles Stare Right Back | KQED",
"content": "\u003cfigure id=\"attachment_13936717\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936717\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER.jpg\" alt=\"Textile piece made up of many fabrics and patterns, with nine long thin triangles descending from top band\" width=\"2000\" height=\"1732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-800x693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-1536x1330.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-1920x1663.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pacita Abad, ‘100 Years of Freedom: Batanes to Jolo,’ 1998. \u003ccite>(Courtesy Pacita Abad Estate; Photo by Chunkyo In)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting that the San Francisco Museum of Modern Art’s \u003ca href=\"https://www.sfmoma.org/exhibition/pacita-abad/\">Pacita Abad retrospective\u003c/a> opens with a kind of monumental celebratory bunting. \u003ci>100 Years of Freedom: Batanes to Jolo\u003c/i> stretches nearly floor to very-high ceiling, made up of fragments of Indigenous textile work from every province in the Philippines.\u003c/p>\n\u003cp>Abad made this piece in 1998, almost 30 years after she left the Philippines for what she thought would be a temporary stopover in San Francisco on her way to study law in Madrid. In this way, the SFMOMA show (and \u003ci>100 Years of Freedom\u003c/i>) welcome Abad’s art back to a city that introduced her to wider cultural and political movements. Her time here became the first leg of a lifetime of travel, which led to hands-on study, a deep engagement with traditional craft practices and exuberant, prolific artistic production.\u003c/p>\n\u003cp>As much as San Francisco might have a claim on Abad’s early adult years, it’s clear throughout the exhibition that she drew from a world of inspirations when making her work — Indonesian wayang puppets, cowrie shells from Papua New Guinea, a kite-maker in Jaipur, India. Over the course of her life, Abad lived in and visited 63 countries across six continents, creating over 5,000 artworks before her death from cancer in 2004 at the age of 58.\u003c/p>\n\u003cfigure id=\"attachment_13936718\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000.jpg\" alt=\"Woman smiles in front of colorful abstract stitched background in tie-dyed dress\" width=\"2000\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1536x1053.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1920x1316.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pacita Abad with her trapunto painting ‘Ati-Atihan,’ 1983, wearing garments and jewelry collected on her travels. \u003ccite>(Courtesy Pacita Abad Art Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFMOMA version of this show, which was first mounted at the Walker Art Center, is more distilled, according to curators Eungie Joo and Nancy Lim. But a sizzling energy throughout the exhibition doesn’t leave much space to wonder about what might be missing. This is due in part to Abad’s vibrant palette, which spills out from her painted and embellished textile work onto the color-coded gallery walls (yellow, pink, green!).\u003c/p>\n\u003cp>That sizzle also comes from the density of her imagery and her additive approach to making. Abad began making trapuntos (stitched and stuffed painted canvases that exist somewhere between paintings and quilts) in 1981. In this show, a trapunto may list acrylic and oil paint, buttons, sequins, beads, yarn, ribbons \u003ci>and\u003c/i> mirrors as its media. Colored thread dots the surfaces of these pieces, then reappears on the trapuntos’ otherwise blank versos, evidence of countless tiny piercings that could go unnoticed when taking in the full color and pattern of their frontsides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Organized largely thematically, SFMOMA’s show opens with Abad’s early “Social Realist Works,” which includes paintings informed by her 1979 visits to the Thai-Cambodian border, where thousands of families from Vietnam, Cambodia and Laos were arriving on foot, seeking asylum. Based on her own photographs and those of photojournalist friends, Abad made work like \u003ci>Watching and Waiting\u003c/i> (1979), a haunting painting depicting the faces of women and children behind barbed wire.\u003c/p>\n\u003cfigure id=\"attachment_13936721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000.jpg\" alt=\"Large gallery space with hanging colorful textile works with mask-like patterns on front and black backing with some stitching visible\" width=\"2000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-1920x1200.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of Pacita Abad’s trapuntos (with one verso, in black) from ‘Pacita Abad: A Million Things to Say’ at the Museum of Contemporary Art and Design, Manila, De La Salle-College of Saint Benilde in 2018.\u003c/figcaption>\u003c/figure>\n\u003cp>The 15-foot-wide \u003ci>Flight to Freedom\u003c/i> (1980) occupies one whole wall of the exhibition, showing a broad line of refugees of all ages carrying bundles of their possessions. Originally conceived as a portable mural that could travel the world and alert new audiences to the refugees’ desperate situation, Abad hoped her art might have a more lasting effect than the fleeting news brief. “After the media coverage ends,” she said, “I want my paintings to keep staring at you.”\u003c/p>\n\u003cp>This is a notable quality of Abad’s work: its insistence on gazing back. Whether through painted figures, the eye-holes of masks, fish and other sea creatures, or the thousands of buttons and dots painstakingly applied across her surfaces, Abad’s art blasts into viewers’ retinas with eyes of its own. What’s so thrilling today comes from a past refusal of expectation or categorization.\u003c/p>\n\u003cp>In \u003ci>Masks from Six Continents\u003c/i> (1990–93), a six-part textile piece made for the Washington, D.C. Metro Center, Abad created trapuntos referencing specific Indigenous cultures in Asia, Africa, Oceania and the Americas. The sixth, \u003ci>European Mask\u003c/i>, is a pointed critique of the region’s appropriation and colonization of non-European cultures, with Abad humorously flattening European identity the same way Europeans so often flatten the identities of others.\u003c/p>\n\u003cfigure id=\"attachment_13936720\" class=\"wp-caption aligncenter\" style=\"max-width: 1923px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-scaled.jpg\" alt=\"Vertical canvas with blue, green and golden brushstrokes conveying grass\" width=\"1923\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-scaled.jpg 1923w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-768x1023.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1154x1536.jpg 1154w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1538x2048.jpg 1538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1920x2556.jpg 1920w\" sizes=\"(max-width: 1923px) 100vw, 1923px\">\u003cfigcaption class=\"wp-caption-text\">Pacita Abad, ‘Spring Is Coming,’ 2001. \u003ccite>(Courtesy Pacita Abad Art Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a room of seemingly abstract works, the panels of color, stitching and brushwork hit multiple reference points, citing places and moments from Abad’s own life. \u003ci>Spring is Coming\u003c/i> (2001), a frenetic field of bright green, blue and goldenrod brushstrokes, evokes shafts of new growth emerging from the ground. \u003ci>Early One Morning\u003c/i> (2003) practically assaults the senses with a rainbow of squiggles, dots, zigzags and circles. Abad, wildly prolific, wouldn’t let up, even after she was diagnosed with advanced lung cancer in 2001.\u003c/p>\n\u003cp>The final room of the exhibition, painted a dark blue-gray, is filled with the trapuntos Abad made after she began scuba diving. In these rich coral and fish-filled worlds, she depicts an expansive, freeing alternative to the reality on land, particularly during the Marcos dictatorship in the Philippines. In their depth and intricacy, these pieces might seem free of the cultural references and imagery that warmly populate the rest of Abad’s work. But as show curator Victoria Sung (formerly of the Walker, now at the Berkeley Art Museum and Pacific Film Archive) writes in her catalog essay, these underwater scenes demonstrate the extent of Abad’s ability to appreciate — and depict — webs of affinity that extend not just between people, but down to the ocean floor.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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.sfmoma.org/exhibition/pacita-abad/\">Pacita Abad\u003c/a>’ is on view at the San Francisco Museum of Modern Art Oct. 21, 2023–Jan. 28, 2024. A \u003ca href=\"https://www.sfmoma.org/event/free-community-day-pacita-abad/\">free community day \u003c/a>on Saturday, Oct. 21 runs 10 a.m.–5 p.m. with performances, talks and other events at the museum.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1070,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705003204,
"excerpt": "A colorful, materially expansive retrospective of the Philippines-born artist refuses art-historical limitations.",
"headData": {
"twImgId": "",
"twTitle": "At SFMOMA, Pacita Abad’s Painted Textiles Stare Right Back",
"socialTitle": "‘Pacita Abad’ at SFMOMA Review: Painted Textiles Stare Back %%page%% %%sep%% KQED",
"ogTitle": "At SFMOMA, Pacita Abad’s Painted Textiles Stare Right Back",
"ogImgId": "",
"twDescription": "",
"description": "A colorful, materially expansive retrospective of the Philippines-born artist refuses art-historical limitations.",
"title": "‘Pacita Abad’ at SFMOMA Review: Painted Textiles Stare Back | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At SFMOMA, Pacita Abad’s Painted Textiles Stare Right Back",
"datePublished": "2023-10-20T09:38:07-07:00",
"dateModified": "2024-01-11T12:00:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pacita-abad-sfmoma-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13936714/pacita-abad-sfmoma-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936717\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936717\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER.jpg\" alt=\"Textile piece made up of many fabrics and patterns, with nine long thin triangles descending from top band\" width=\"2000\" height=\"1732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-800x693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-1536x1330.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/08_Pacita-Abad_100-Years-of-Freedom-Batanes-to-Jolo_1998_COVER-1920x1663.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pacita Abad, ‘100 Years of Freedom: Batanes to Jolo,’ 1998. \u003ccite>(Courtesy Pacita Abad Estate; Photo by Chunkyo In)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting that the San Francisco Museum of Modern Art’s \u003ca href=\"https://www.sfmoma.org/exhibition/pacita-abad/\">Pacita Abad retrospective\u003c/a> opens with a kind of monumental celebratory bunting. \u003ci>100 Years of Freedom: Batanes to Jolo\u003c/i> stretches nearly floor to very-high ceiling, made up of fragments of Indigenous textile work from every province in the Philippines.\u003c/p>\n\u003cp>Abad made this piece in 1998, almost 30 years after she left the Philippines for what she thought would be a temporary stopover in San Francisco on her way to study law in Madrid. In this way, the SFMOMA show (and \u003ci>100 Years of Freedom\u003c/i>) welcome Abad’s art back to a city that introduced her to wider cultural and political movements. Her time here became the first leg of a lifetime of travel, which led to hands-on study, a deep engagement with traditional craft practices and exuberant, prolific artistic production.\u003c/p>\n\u003cp>As much as San Francisco might have a claim on Abad’s early adult years, it’s clear throughout the exhibition that she drew from a world of inspirations when making her work — Indonesian wayang puppets, cowrie shells from Papua New Guinea, a kite-maker in Jaipur, India. Over the course of her life, Abad lived in and visited 63 countries across six continents, creating over 5,000 artworks before her death from cancer in 2004 at the age of 58.\u003c/p>\n\u003cfigure id=\"attachment_13936718\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000.jpg\" alt=\"Woman smiles in front of colorful abstract stitched background in tie-dyed dress\" width=\"2000\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1536x1053.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/18_Pacita-Abad-with-her-trapunto-painting-Ati-Atihan-1983_2000-1920x1316.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pacita Abad with her trapunto painting ‘Ati-Atihan,’ 1983, wearing garments and jewelry collected on her travels. \u003ccite>(Courtesy Pacita Abad Art Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFMOMA version of this show, which was first mounted at the Walker Art Center, is more distilled, according to curators Eungie Joo and Nancy Lim. But a sizzling energy throughout the exhibition doesn’t leave much space to wonder about what might be missing. This is due in part to Abad’s vibrant palette, which spills out from her painted and embellished textile work onto the color-coded gallery walls (yellow, pink, green!).\u003c/p>\n\u003cp>That sizzle also comes from the density of her imagery and her additive approach to making. Abad began making trapuntos (stitched and stuffed painted canvases that exist somewhere between paintings and quilts) in 1981. In this show, a trapunto may list acrylic and oil paint, buttons, sequins, beads, yarn, ribbons \u003ci>and\u003c/i> mirrors as its media. Colored thread dots the surfaces of these pieces, then reappears on the trapuntos’ otherwise blank versos, evidence of countless tiny piercings that could go unnoticed when taking in the full color and pattern of their frontsides.\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>Organized largely thematically, SFMOMA’s show opens with Abad’s early “Social Realist Works,” which includes paintings informed by her 1979 visits to the Thai-Cambodian border, where thousands of families from Vietnam, Cambodia and Laos were arriving on foot, seeking asylum. Based on her own photographs and those of photojournalist friends, Abad made work like \u003ci>Watching and Waiting\u003c/i> (1979), a haunting painting depicting the faces of women and children behind barbed wire.\u003c/p>\n\u003cfigure id=\"attachment_13936721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000.jpg\" alt=\"Large gallery space with hanging colorful textile works with mask-like patterns on front and black backing with some stitching visible\" width=\"2000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/11_View-of-the-exhibition-Pacita-Abad-A-Million-Things-to-Say_2000-1920x1200.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of Pacita Abad’s trapuntos (with one verso, in black) from ‘Pacita Abad: A Million Things to Say’ at the Museum of Contemporary Art and Design, Manila, De La Salle-College of Saint Benilde in 2018.\u003c/figcaption>\u003c/figure>\n\u003cp>The 15-foot-wide \u003ci>Flight to Freedom\u003c/i> (1980) occupies one whole wall of the exhibition, showing a broad line of refugees of all ages carrying bundles of their possessions. Originally conceived as a portable mural that could travel the world and alert new audiences to the refugees’ desperate situation, Abad hoped her art might have a more lasting effect than the fleeting news brief. “After the media coverage ends,” she said, “I want my paintings to keep staring at you.”\u003c/p>\n\u003cp>This is a notable quality of Abad’s work: its insistence on gazing back. Whether through painted figures, the eye-holes of masks, fish and other sea creatures, or the thousands of buttons and dots painstakingly applied across her surfaces, Abad’s art blasts into viewers’ retinas with eyes of its own. What’s so thrilling today comes from a past refusal of expectation or categorization.\u003c/p>\n\u003cp>In \u003ci>Masks from Six Continents\u003c/i> (1990–93), a six-part textile piece made for the Washington, D.C. Metro Center, Abad created trapuntos referencing specific Indigenous cultures in Asia, Africa, Oceania and the Americas. The sixth, \u003ci>European Mask\u003c/i>, is a pointed critique of the region’s appropriation and colonization of non-European cultures, with Abad humorously flattening European identity the same way Europeans so often flatten the identities of others.\u003c/p>\n\u003cfigure id=\"attachment_13936720\" class=\"wp-caption aligncenter\" style=\"max-width: 1923px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-scaled.jpg\" alt=\"Vertical canvas with blue, green and golden brushstrokes conveying grass\" width=\"1923\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-scaled.jpg 1923w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-768x1023.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1154x1536.jpg 1154w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1538x2048.jpg 1538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/10_Pacita-Abad_Spring-Is-Coming_2001_2000-1920x2556.jpg 1920w\" sizes=\"(max-width: 1923px) 100vw, 1923px\">\u003cfigcaption class=\"wp-caption-text\">Pacita Abad, ‘Spring Is Coming,’ 2001. \u003ccite>(Courtesy Pacita Abad Art Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a room of seemingly abstract works, the panels of color, stitching and brushwork hit multiple reference points, citing places and moments from Abad’s own life. \u003ci>Spring is Coming\u003c/i> (2001), a frenetic field of bright green, blue and goldenrod brushstrokes, evokes shafts of new growth emerging from the ground. \u003ci>Early One Morning\u003c/i> (2003) practically assaults the senses with a rainbow of squiggles, dots, zigzags and circles. Abad, wildly prolific, wouldn’t let up, even after she was diagnosed with advanced lung cancer in 2001.\u003c/p>\n\u003cp>The final room of the exhibition, painted a dark blue-gray, is filled with the trapuntos Abad made after she began scuba diving. In these rich coral and fish-filled worlds, she depicts an expansive, freeing alternative to the reality on land, particularly during the Marcos dictatorship in the Philippines. In their depth and intricacy, these pieces might seem free of the cultural references and imagery that warmly populate the rest of Abad’s work. But as show curator Victoria Sung (formerly of the Walker, now at the Berkeley Art Museum and Pacific Film Archive) writes in her catalog essay, these underwater scenes demonstrate the extent of Abad’s ability to appreciate — and depict — webs of affinity that extend not just between people, but down to the ocean floor.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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.sfmoma.org/exhibition/pacita-abad/\">Pacita Abad\u003c/a>’ is on view at the San Francisco Museum of Modern Art Oct. 21, 2023–Jan. 28, 2024. A \u003ca href=\"https://www.sfmoma.org/event/free-community-day-pacita-abad/\">free community day \u003c/a>on Saturday, Oct. 21 runs 10 a.m.–5 p.m. with performances, talks and other events at the museum.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13936714/pacita-abad-sfmoma-review",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_10278",
"arts_769",
"arts_1381",
"arts_585",
"arts_901"
],
"featImg": "arts_13936718",
"label": "arts_140"
},
"arts_13936637": {
"type": "posts",
"id": "arts_13936637",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13936637",
"score": null,
"sort": [
1697739322000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1697739322,
"format": "aside",
"title": "‘Living for the Dead’ Is the LGBT Ghost-Hunting Show We Didn’t Know We Needed",
"headTitle": "‘Living for the Dead’ Is the LGBT Ghost-Hunting Show We Didn’t Know We Needed | KQED",
"content": "\u003cfigure id=\"attachment_13936651\" class=\"wp-caption aligncenter\" style=\"max-width: 1940px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/alex-lemay.png\" alt=\"A young white woman with long blonde hair, black cat-eye eyeliner and gold septum nose piercing looks over her shoulder towards the rear of the vehicle she's in.\" width=\"1940\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay.png 1940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1920x1235.png 1920w\" sizes=\"(max-width: 1940px) 100vw, 1940px\">\u003cfigcaption class=\"wp-caption-text\">Paranormal investigator Alex LeMay. If this face doesn’t get you interested in talking to dead people, nothing will.\u003c/figcaption>\u003c/figure>\n\u003cp>I’ll admit it: Back when it first premiered on Syfy in 2004, I used to watch \u003cem>Ghost Hunters\u003c/em> quite religiously. I will also admit that the reason for that is because I grew up in what I would consider an extremely \u003ca href=\"https://www.kqed.org/arts/13881990/the-haunted-house-on-lombard-street-that-left-a-trail-of-tragedy\">haunted house\u003c/a>, with parents who steadfastly refused to admit anything paranormal was happening.\u003c/p>\n\u003cp>I get it. Most people feel embarrassed to admit such things exist. But it sucked to have to argue about it nonetheless.\u003c/p>\n\u003cp>[aside postid='arts_13904911']My initial interest in \u003cem>Ghost Hunters\u003c/em>, then, sprang from the idea that folks could gather tangible proof of the paranormal — be it video footage, photos, voice recordings, or light and sound interactions — and treat it like science instead of superstition. Where the series quickly lost me was in its inescapably bro-y tone. Much of the show’s crew had zero qualms about going into properties where people were experiencing spiritual disturbances and yelling obscenities until something — anything! — happened. (Why you trying to start a fight with dead guys, my dudes?) It did not help that the slew of copycat shows that followed in \u003cem>Ghost Hunters’\u003c/em> wake picked up that Angry Man Yelling cue and ran amok with it. (Exhibit A — *sigh* — \u003cem>Ghost Adventures\u003c/em>.)\u003c/p>\n\u003cp>Well, it’s taken almost 20 years, but some genius at Hulu just finally figured out that TV ghost hunting would be a lot more fun if a bunch of queer psychic people did it. And guess what? It is! The five castmates of new reality show \u003cem>Living for the Dead\u003c/em> use all of that specialty equipment the bro ghost hunters use, in combination with their own unique third-eye-related talents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y15RhMymDxo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, who’s on this team of glam, gay ghostbusters? Let’s start with delightful psychic medium Logan Taylor, who’s one-part Tyler Henry, one-part Long Island Medium. Quick-witted and wry Roz Hernandez researches locations, but her primary role here seems to be humor-relief. Then there’s witch and spiritual healer Juju Bae, who’s a much-needed calming presence, not to mention a reliable problem-solver. Finally, there’s tough-but-sweet tech expert and empath Alex LeMay and tarot reader Ken Boggle. Oh, and I should probably mention that voiceovers are provided at the open and close of each episode by (*checks notes*) executive producer Kristen Stewart. (You heard me! If the investigators are the angels, Stewart is the Charlie.)\u003c/p>\n\u003cp>[aside postid='arts_13936524']The intrepid team travels across the country in their trusty little camper van, exploring public and private locations, doing all the things regular ghost-hunting shows do, just with a little bit — OK, a lot — more flavor. (And also drinking. These clairvoyants love a cocktail.) Not only does their range of personalities make for a better-rounded ghost show, it also makes for a much funnier one. These investigations are awash with quips. (“I felt a tug at my tail… which normally I’d be for,” “I hear gay people,” and “I did say I wanted to feel something from a man in Vegas…” are pure joy within a ghost-hunting context.)\u003c/p>\n\u003cp>\u003cem>Living for the Dead\u003c/em> also benefits from a team that has a much more thoughtful approach to this work than the shows we’ve seen like it before. For example, when this crew gets messages from the other side asking them to leave a room, they simply acknowledge it, get up and leave. (Imagine that, \u003cem>Ghost Adventure\u003c/em> dudes!)\u003c/p>\n\u003cfigure id=\"attachment_13936652\" class=\"wp-caption aligncenter\" style=\"max-width: 2314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/queer-seance.png\" alt=\"A group of five men and women sit around a wooden dining table lit only with many white candles.\" width=\"2314\" height=\"1406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance.png 2314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-800x486.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1536x933.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-2048x1244.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1920x1167.png 1920w\" sizes=\"(max-width: 2314px) 100vw, 2314px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Juju, Logan, Ken, Roz and Alex conducting a very gentle seance in an Arizona mansion. And yes, the chandelier is moving. \u003ccite>(Hulu/ ‘Living for the Dead’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>Living for the Dead\u003c/em> team is mostly great, but not always perfect. Early on, many of them are far too willing to jump to “demon” and “non-human entity” as explanations for unpleasant activity at properties. Boggle, particularly in the first few episodes, seems a little too overwrought and dramatic for the work at hand. Thankfully, everyone calms down a bit and the team chemistry really comes together later in the series. The episode set in Las Vegas’ Palamino strip club is particular stellar.\u003c/p>\n\u003cp>[aside postid='arts_13935838']If the reasoning for assembling a specifically queer group of paranormal experts for this series seems flimsy, that’s because it is. Kristen Stewart says she based the idea for \u003cem>Living for the Dead\u003c/em> on nothing more than a goofy idea her friend and fellow producer CJ Romero came up with. It was the creators of \u003cem>Queer Eye\u003c/em> (oh, but of course!) who ultimately helped K-Stew bring it to life.\u003c/p>\n\u003cp>If you’re a skeptic, it’s unlikely that \u003cem>Living for the Dead\u003c/em> will make you a believer. The series is also not going to be to everyone’s taste. But consider this: One of the reasons \u003cem>Ghost Hunters\u003c/em> was so popular in the first place was because it had a bunch of regular, suburban Joes doing the investigations. For those of us who’ve longed to see the supernatural explored by folks that we could better relate to (queers, weirdos, hot goths and trans women who make chlamydia jokes when things get too dark), \u003cem>Living for the Dead\u003c/em> is a total winner.\u003c/p>\n\u003cp>And if I were a ghost? Well, I know for sure which cast I’d rather have wandering into my bedroom in the middle of the night.\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>Season 1 of ‘Living for the Dead’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 977,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705535707,
"excerpt": "The new Hulu series is ‘Queer Eye’ for dead people — or ghost investi-gay-tions, if you’re nasty.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new Hulu series is ‘Queer Eye’ for dead people — or ghost investi-gay-tions, if you’re nasty.",
"title": "‘Living for the Dead’ Is the LGBT Ghost-Hunting Show We Didn’t Know We Needed | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Living for the Dead’ Is the LGBT Ghost-Hunting Show We Didn’t Know We Needed",
"datePublished": "2023-10-19T11:15:22-07:00",
"dateModified": "2024-01-17T15:55:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "living-for-the-dead-lgbt-ghost-hunting-show-hulu-kristen-stewart",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13936637/living-for-the-dead-lgbt-ghost-hunting-show-hulu-kristen-stewart",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936651\" class=\"wp-caption aligncenter\" style=\"max-width: 1940px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/alex-lemay.png\" alt=\"A young white woman with long blonde hair, black cat-eye eyeliner and gold septum nose piercing looks over her shoulder towards the rear of the vehicle she's in.\" width=\"1940\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay.png 1940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1920x1235.png 1920w\" sizes=\"(max-width: 1940px) 100vw, 1940px\">\u003cfigcaption class=\"wp-caption-text\">Paranormal investigator Alex LeMay. If this face doesn’t get you interested in talking to dead people, nothing will.\u003c/figcaption>\u003c/figure>\n\u003cp>I’ll admit it: Back when it first premiered on Syfy in 2004, I used to watch \u003cem>Ghost Hunters\u003c/em> quite religiously. I will also admit that the reason for that is because I grew up in what I would consider an extremely \u003ca href=\"https://www.kqed.org/arts/13881990/the-haunted-house-on-lombard-street-that-left-a-trail-of-tragedy\">haunted house\u003c/a>, with parents who steadfastly refused to admit anything paranormal was happening.\u003c/p>\n\u003cp>I get it. Most people feel embarrassed to admit such things exist. But it sucked to have to argue about it nonetheless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13904911",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>My initial interest in \u003cem>Ghost Hunters\u003c/em>, then, sprang from the idea that folks could gather tangible proof of the paranormal — be it video footage, photos, voice recordings, or light and sound interactions — and treat it like science instead of superstition. Where the series quickly lost me was in its inescapably bro-y tone. Much of the show’s crew had zero qualms about going into properties where people were experiencing spiritual disturbances and yelling obscenities until something — anything! — happened. (Why you trying to start a fight with dead guys, my dudes?) It did not help that the slew of copycat shows that followed in \u003cem>Ghost Hunters’\u003c/em> wake picked up that Angry Man Yelling cue and ran amok with it. (Exhibit A — *sigh* — \u003cem>Ghost Adventures\u003c/em>.)\u003c/p>\n\u003cp>Well, it’s taken almost 20 years, but some genius at Hulu just finally figured out that TV ghost hunting would be a lot more fun if a bunch of queer psychic people did it. And guess what? It is! The five castmates of new reality show \u003cem>Living for the Dead\u003c/em> use all of that specialty equipment the bro ghost hunters use, in combination with their own unique third-eye-related talents.\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/Y15RhMymDxo'\n title='//www.youtube.com/embed/Y15RhMymDxo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, who’s on this team of glam, gay ghostbusters? Let’s start with delightful psychic medium Logan Taylor, who’s one-part Tyler Henry, one-part Long Island Medium. Quick-witted and wry Roz Hernandez researches locations, but her primary role here seems to be humor-relief. Then there’s witch and spiritual healer Juju Bae, who’s a much-needed calming presence, not to mention a reliable problem-solver. Finally, there’s tough-but-sweet tech expert and empath Alex LeMay and tarot reader Ken Boggle. Oh, and I should probably mention that voiceovers are provided at the open and close of each episode by (*checks notes*) executive producer Kristen Stewart. (You heard me! If the investigators are the angels, Stewart is the Charlie.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936524",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The intrepid team travels across the country in their trusty little camper van, exploring public and private locations, doing all the things regular ghost-hunting shows do, just with a little bit — OK, a lot — more flavor. (And also drinking. These clairvoyants love a cocktail.) Not only does their range of personalities make for a better-rounded ghost show, it also makes for a much funnier one. These investigations are awash with quips. (“I felt a tug at my tail… which normally I’d be for,” “I hear gay people,” and “I did say I wanted to feel something from a man in Vegas…” are pure joy within a ghost-hunting context.)\u003c/p>\n\u003cp>\u003cem>Living for the Dead\u003c/em> also benefits from a team that has a much more thoughtful approach to this work than the shows we’ve seen like it before. For example, when this crew gets messages from the other side asking them to leave a room, they simply acknowledge it, get up and leave. (Imagine that, \u003cem>Ghost Adventure\u003c/em> dudes!)\u003c/p>\n\u003cfigure id=\"attachment_13936652\" class=\"wp-caption aligncenter\" style=\"max-width: 2314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/queer-seance.png\" alt=\"A group of five men and women sit around a wooden dining table lit only with many white candles.\" width=\"2314\" height=\"1406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance.png 2314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-800x486.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1536x933.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-2048x1244.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1920x1167.png 1920w\" sizes=\"(max-width: 2314px) 100vw, 2314px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Juju, Logan, Ken, Roz and Alex conducting a very gentle seance in an Arizona mansion. And yes, the chandelier is moving. \u003ccite>(Hulu/ ‘Living for the Dead’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>Living for the Dead\u003c/em> team is mostly great, but not always perfect. Early on, many of them are far too willing to jump to “demon” and “non-human entity” as explanations for unpleasant activity at properties. Boggle, particularly in the first few episodes, seems a little too overwrought and dramatic for the work at hand. Thankfully, everyone calms down a bit and the team chemistry really comes together later in the series. The episode set in Las Vegas’ Palamino strip club is particular stellar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935838",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>If the reasoning for assembling a specifically queer group of paranormal experts for this series seems flimsy, that’s because it is. Kristen Stewart says she based the idea for \u003cem>Living for the Dead\u003c/em> on nothing more than a goofy idea her friend and fellow producer CJ Romero came up with. It was the creators of \u003cem>Queer Eye\u003c/em> (oh, but of course!) who ultimately helped K-Stew bring it to life.\u003c/p>\n\u003cp>If you’re a skeptic, it’s unlikely that \u003cem>Living for the Dead\u003c/em> will make you a believer. The series is also not going to be to everyone’s taste. But consider this: One of the reasons \u003cem>Ghost Hunters\u003c/em> was so popular in the first place was because it had a bunch of regular, suburban Joes doing the investigations. For those of us who’ve longed to see the supernatural explored by folks that we could better relate to (queers, weirdos, hot goths and trans women who make chlamydia jokes when things get too dark), \u003cem>Living for the Dead\u003c/em> is a total winner.\u003c/p>\n\u003cp>And if I were a ghost? Well, I know for sure which cast I’d rather have wandering into my bedroom in the middle of the night.\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>Season 1 of ‘Living for the Dead’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13936637/living-for-the-dead-lgbt-ghost-hunting-show-hulu-kristen-stewart",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_1206",
"arts_13540",
"arts_5234",
"arts_3226",
"arts_769",
"arts_585"
],
"featImg": "arts_13936668",
"label": "arts"
},
"arts_13936269": {
"type": "posts",
"id": "arts_13936269",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13936269",
"score": null,
"sort": [
1697122858000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1697122858,
"format": "standard",
"title": "In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects",
"headTitle": "In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects | KQED",
"content": "\u003cp>When you first turn into the \u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">Berkeley Art Museum and Pacific Film Archive\u003c/a>’s main exhibition space, watch your head. Jutting out from the wall sideways, in a splay of tapered wooden pole-ends, is a massive tepee — or at least the bones of one. The sumac-dyed canvas that might otherwise enfold the structure drapes over one side. What remains are the poles, knotted together near their tips and painted a streaky, ashen white. \u003c/p>\n\u003cp>The effect is twofold: The tepee, that endlessly appropriated icon of pastoral Indigenous life, is disentangled from any cutesy, passive conception. This one could snag you, if you’re not careful. And its exposed frame, sapped of color, becomes skeletal. Something has died. Don’t you remember?\u003c/p>\n\u003cp>\u003ca href=\"https://duanelinklater.com/\">Duane Linklater\u003c/a>, the Omaskêko Cree artist behind this piece, titled \u003cem>dislodgevanishskinground\u003c/em>, is deeply interested in the memory of things. For much of the past two decades, he has created art focused on the jagged edges where Indigenous and non-Native life meet, which is to say he has focused on the ways we have scrubbed clean our national memories to forget that these collisions took place, at one time or another, everywhere. (Linklater is from Northeastern Ontario, in Canada.) For Linklater, the story of colonialism’s bloody expansion — and the memory of all that it snuffed out — is buried deep in the objects we handle and the places we occupy every day.\u003c/p>\n\u003cfigure id=\"attachment_13936300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg\" alt=\"Large tepee canvasses hang from metal rods across wide gallery space\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk’ in ‘mymothersside’ at BAMPFA. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>\u003c/em>, BAMPFA’s survey of Linklater’s work from the last decade, serves as an excavation of these memories. It includes some 30 pieces in sculpture, painting and film, as well as one permanent architectural installation. Linklater composed almost all of the works from materials important to his and other Native cultures: animal hides, saplings, sumac, cochineal and charcoal. (These material choices render one major outlier — a series of colorless 3D-printed replicas of Indigenous artifacts from the Utah Museum of Fine Arts in Salt Lake City — utterly lifeless by comparison).\u003c/p>\n\u003cp>The exhibition debuted at Seattle’s Frye Museum in 2022, followed by a stint at the Museum of Contemporary Art Chicago. But BAMPFA’s version is the largest yet, with room enough for a dynamic installation seen only once before, at the \u003ca href=\"https://whitney.org/exhibitions/2022-biennial?section=34#exhibition-feature\">2022 Whitney Biennial\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That piece, titled \u003cem>wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk\u003c/em>, involves six painted tepee-canvas rounds hung from metal rods, which themselves hang some eight feet high via steel cables attached to the ceiling. The covers, stained with blueberry, orange pekoe tea and other natural dyes, drape downward in semicircles, gently bunching on the floor. Visitors are invited to walk between them — an enveloping warmth against the museum’s sterile white walls. \u003c/p>\n\u003cp>Linklater has said he intends for this installation to be rearranged over the course of the exhibition, a reference to the flexibility of the tepee covers as a form of portable architecture. But in concert with the show’s other works, the choice also reflects a desire for audiences to meet the art on ethnographic as well as aesthetic terms. In this way the covers are more than sculptural objects in the formalist sense; they serve a practical and ritual purpose — they evince a history. To treat them accordingly prevents the museum from obscuring this essential fact for its visitors, and thus from perpetuating an erasure in which museums generally have played an outsize role. \u003c/p>\n\u003cfigure id=\"attachment_13936301\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg\" alt=\"A white-pole tepee sculpture in a gallery space, with a wall behind partially demolished, red paint on the metal beams spells out words\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘mymothersside’ at BAMPFA with ‘What Then Remainz’ in the background. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in case this institutional duty was unclear, \u003cem>mymothersside\u003c/em> includes a brasher approach. Linklater’s installation \u003cem>What Then Remainz\u003c/em> required BAMPFA to deconstruct the exhibition’s far wall, stripping it to its metalwork and insulation. The museum had to then rearrange the steel framing and use red acrylic paint to spell out the titular phrase, borrowed from \u003ca href=\"https://www.scotusblog.com/case-files/cases/dollar-general-corporation-v-mississippi-band-of-choctaw-indians/\">a controversial United States Supreme Court decision\u003c/a> determining the jurisdiction of tribal lands. When the exhibition is over, drywall will be reapplied over the framing, leaving the phrase in place indefinitely.\u003c/p>\n\u003cp>I had seen this piece before, constructed for previous shows (at least three museums contain the inscription). Not knowing better, I expected the rest of Linklater’s exhibition to be as pugilistic, fueled by the sort of righteous fury that inflames the work of other artists preoccupied by legacies of colonial violence, like Kara Walker or Jaune Quick-to-See Smith.\u003c/p>\n\u003cp>But \u003cem>mymothersside\u003c/em> is almost unwaveringly tranquil. Look at \u003cem>Modest Livelihood\u003c/em>, a silent, 50-minute documentary film playing on a loop in a darkened corner of the exhibition. The title is a response to a \u003ca href=\"https://www.canlii.org/en/ca/scc/doc/1999/1999canlii665/1999canlii665.html?autocompleteStr=marshall&autocompletePos=1\">1999 Canadian Supreme Court ruling\u003c/a> that Indigenous people can only fish enough food to sustain a “moderate livelihood” — a preposterous restriction that Linklater counters not with fiery indignation, but with serenity. \u003c/p>\n\u003cfigure id=\"attachment_13936302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg\" alt=\"Video projection of two figures cutting apart an animal carcass in snow, bench in front of video\" width=\"2000\" height=\"1337\" class=\"size-full wp-image-13936302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1920x1284.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Duane Linklater, ‘Modest Livelihood,’ 2012; Super 16mm film, transferred to blu-ray; 50 minutes. \u003ccite>(Courtesy Catriona Jeffries, Vancouver; Photo by Jueqian Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film follows Linklater, Dane-zaa artist Brian Jungen, and Dane-zaa elder Jack Askoty on a moose hunt in tribal territory of northern British Columbia. The camera keeps mostly on the men’s backs, drifting lazily to capture rustling trees or sunlight blinking through grass. One minute-and-a-half long landscape shot — a spray of carmine shrubs breaking on a yellow-green treeline that sweeps clear back to the Rockies — nearly brought me to tears. The image conveyed a profound reverence for the land. It suggested an artist who had determined that in the face of punishing indifference, one antidote may simply be to care.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>‘\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 992,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1714598942,
"excerpt": "At BAMPFA, a survey of the Omaskêko Cree artist’s work processes grief, dispossession and indifference with a commitment to remember.",
"headData": {
"twImgId": "",
"twTitle": "In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects",
"socialTitle": "Duane Linklater at BAMPFA: Memory Buried in Indigenous Objects %%page%% %%sep%% KQED",
"ogTitle": "In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects",
"ogImgId": "",
"twDescription": "",
"description": "At BAMPFA, a survey of the Omaskêko Cree artist’s work processes grief, dispossession and indifference with a commitment to remember.",
"title": "Duane Linklater at BAMPFA: Memory Buried in Indigenous Objects | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects",
"datePublished": "2023-10-12T08:00:58-07:00",
"dateModified": "2024-05-01T14:29:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "duane-linklater-mymothersside-bampfa-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprStoryId": "kqed-13936269",
"path": "/arts/13936269/duane-linklater-mymothersside-bampfa-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you first turn into the \u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">Berkeley Art Museum and Pacific Film Archive\u003c/a>’s main exhibition space, watch your head. Jutting out from the wall sideways, in a splay of tapered wooden pole-ends, is a massive tepee — or at least the bones of one. The sumac-dyed canvas that might otherwise enfold the structure drapes over one side. What remains are the poles, knotted together near their tips and painted a streaky, ashen white. \u003c/p>\n\u003cp>The effect is twofold: The tepee, that endlessly appropriated icon of pastoral Indigenous life, is disentangled from any cutesy, passive conception. This one could snag you, if you’re not careful. And its exposed frame, sapped of color, becomes skeletal. Something has died. Don’t you remember?\u003c/p>\n\u003cp>\u003ca href=\"https://duanelinklater.com/\">Duane Linklater\u003c/a>, the Omaskêko Cree artist behind this piece, titled \u003cem>dislodgevanishskinground\u003c/em>, is deeply interested in the memory of things. For much of the past two decades, he has created art focused on the jagged edges where Indigenous and non-Native life meet, which is to say he has focused on the ways we have scrubbed clean our national memories to forget that these collisions took place, at one time or another, everywhere. (Linklater is from Northeastern Ontario, in Canada.) For Linklater, the story of colonialism’s bloody expansion — and the memory of all that it snuffed out — is buried deep in the objects we handle and the places we occupy every day.\u003c/p>\n\u003cfigure id=\"attachment_13936300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg\" alt=\"Large tepee canvasses hang from metal rods across wide gallery space\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk’ in ‘mymothersside’ at BAMPFA. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>\u003c/em>, BAMPFA’s survey of Linklater’s work from the last decade, serves as an excavation of these memories. It includes some 30 pieces in sculpture, painting and film, as well as one permanent architectural installation. Linklater composed almost all of the works from materials important to his and other Native cultures: animal hides, saplings, sumac, cochineal and charcoal. (These material choices render one major outlier — a series of colorless 3D-printed replicas of Indigenous artifacts from the Utah Museum of Fine Arts in Salt Lake City — utterly lifeless by comparison).\u003c/p>\n\u003cp>The exhibition debuted at Seattle’s Frye Museum in 2022, followed by a stint at the Museum of Contemporary Art Chicago. But BAMPFA’s version is the largest yet, with room enough for a dynamic installation seen only once before, at the \u003ca href=\"https://whitney.org/exhibitions/2022-biennial?section=34#exhibition-feature\">2022 Whitney Biennial\u003c/a>. \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>That piece, titled \u003cem>wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk\u003c/em>, involves six painted tepee-canvas rounds hung from metal rods, which themselves hang some eight feet high via steel cables attached to the ceiling. The covers, stained with blueberry, orange pekoe tea and other natural dyes, drape downward in semicircles, gently bunching on the floor. Visitors are invited to walk between them — an enveloping warmth against the museum’s sterile white walls. \u003c/p>\n\u003cp>Linklater has said he intends for this installation to be rearranged over the course of the exhibition, a reference to the flexibility of the tepee covers as a form of portable architecture. But in concert with the show’s other works, the choice also reflects a desire for audiences to meet the art on ethnographic as well as aesthetic terms. In this way the covers are more than sculptural objects in the formalist sense; they serve a practical and ritual purpose — they evince a history. To treat them accordingly prevents the museum from obscuring this essential fact for its visitors, and thus from perpetuating an erasure in which museums generally have played an outsize role. \u003c/p>\n\u003cfigure id=\"attachment_13936301\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg\" alt=\"A white-pole tepee sculpture in a gallery space, with a wall behind partially demolished, red paint on the metal beams spells out words\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘mymothersside’ at BAMPFA with ‘What Then Remainz’ in the background. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in case this institutional duty was unclear, \u003cem>mymothersside\u003c/em> includes a brasher approach. Linklater’s installation \u003cem>What Then Remainz\u003c/em> required BAMPFA to deconstruct the exhibition’s far wall, stripping it to its metalwork and insulation. The museum had to then rearrange the steel framing and use red acrylic paint to spell out the titular phrase, borrowed from \u003ca href=\"https://www.scotusblog.com/case-files/cases/dollar-general-corporation-v-mississippi-band-of-choctaw-indians/\">a controversial United States Supreme Court decision\u003c/a> determining the jurisdiction of tribal lands. When the exhibition is over, drywall will be reapplied over the framing, leaving the phrase in place indefinitely.\u003c/p>\n\u003cp>I had seen this piece before, constructed for previous shows (at least three museums contain the inscription). Not knowing better, I expected the rest of Linklater’s exhibition to be as pugilistic, fueled by the sort of righteous fury that inflames the work of other artists preoccupied by legacies of colonial violence, like Kara Walker or Jaune Quick-to-See Smith.\u003c/p>\n\u003cp>But \u003cem>mymothersside\u003c/em> is almost unwaveringly tranquil. Look at \u003cem>Modest Livelihood\u003c/em>, a silent, 50-minute documentary film playing on a loop in a darkened corner of the exhibition. The title is a response to a \u003ca href=\"https://www.canlii.org/en/ca/scc/doc/1999/1999canlii665/1999canlii665.html?autocompleteStr=marshall&autocompletePos=1\">1999 Canadian Supreme Court ruling\u003c/a> that Indigenous people can only fish enough food to sustain a “moderate livelihood” — a preposterous restriction that Linklater counters not with fiery indignation, but with serenity. \u003c/p>\n\u003cfigure id=\"attachment_13936302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg\" alt=\"Video projection of two figures cutting apart an animal carcass in snow, bench in front of video\" width=\"2000\" height=\"1337\" class=\"size-full wp-image-13936302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1920x1284.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Duane Linklater, ‘Modest Livelihood,’ 2012; Super 16mm film, transferred to blu-ray; 50 minutes. \u003ccite>(Courtesy Catriona Jeffries, Vancouver; Photo by Jueqian Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film follows Linklater, Dane-zaa artist Brian Jungen, and Dane-zaa elder Jack Askoty on a moose hunt in tribal territory of northern British Columbia. The camera keeps mostly on the men’s backs, drifting lazily to capture rustling trees or sunlight blinking through grass. One minute-and-a-half long landscape shot — a spray of carmine shrubs breaking on a yellow-green treeline that sweeps clear back to the Rockies — nearly brought me to tears. The image conveyed a profound reverence for the land. It suggested an artist who had determined that in the face of punishing indifference, one antidote may simply be to care.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>‘\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13936269/duane-linklater-mymothersside-bampfa-review",
"authors": [
"11892"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_2227",
"arts_769",
"arts_585"
],
"featImg": "arts_13936283",
"label": "arts_140"
},
"arts_13936204": {
"type": "posts",
"id": "arts_13936204",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13936204",
"score": null,
"sort": [
1697049023000
]
},
"guestAuthors": [],
"slug": "dave-glass-tenderloin-museum-san-franciso-street-photography",
"title": "A Love Letter to the Tenderloin, In Photographs",
"publishDate": 1697049023,
"format": "standard",
"headTitle": "A Love Letter to the Tenderloin, In Photographs | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>[aside postid='arts_13935330']For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "A small but mighty exhibition from Dave Glass captures a broad swath of life in the oft-misunderstood neighborhood.",
"status": "publish",
"parent": 0,
"modified": 1726771064,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 539
},
"headData": {
"title": "A Love Letter to the Tenderloin, In Photographs | KQED",
"description": "A small but mighty exhibition from Dave Glass captures a broad swath of life in the oft-misunderstood neighborhood.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Love Letter to the Tenderloin, In Photographs",
"datePublished": "2023-10-11T11:30:23-07:00",
"dateModified": "2024-09-19T11:37:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13936204/dave-glass-tenderloin-museum-san-franciso-street-photography",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935330",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13936204/dave-glass-tenderloin-museum-san-franciso-street-photography",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75"
],
"tags": [
"arts_10342",
"arts_822",
"arts_769",
"arts_1020",
"arts_5066",
"arts_585"
],
"featImg": "arts_13936205",
"label": "arts_140"
},
"arts_13935873": {
"type": "posts",
"id": "arts_13935873",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13935873",
"score": null,
"sort": [
1696959325000
]
},
"guestAuthors": [],
"slug": "amy-kurzweil-artificial-graphic-memoir-ai",
"title": "Amy Kurzweil Reaches Back in Time Through Graphic Memoir and AI Chatbot",
"publishDate": 1696959325,
"format": "standard",
"headTitle": "Amy Kurzweil Reaches Back in Time Through Graphic Memoir and AI Chatbot | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Connection is simultaneously the text and subtext of \u003cem>New Yorker\u003c/em> cartoonist \u003ca href=\"https://amykurzweil.com/\">Amy Kurzweil\u003c/a>’s new graphic memoir, \u003cem>\u003ca href=\"https://books.catapult.co/books/artificial/\">Artificial: A Love Story\u003c/a>\u003c/em>, in which she writes, “to be loved is to be known.” The book is an exploration of her patrilineal line. Her father, futurist \u003ca href=\"https://www.thekurzweillibrary.com/\">Raymond Kurzweil\u003c/a>, is a solution-oriented inventor invested in overcoming mortality. His father, Fritz “Fred” Kurzweil, was a Jewish conductor and pianist who fled from Vienna to America in the 1930s. \u003c/p>\n\u003cp>[aside postID='arts_13930458,arts_13926136,arts_13925644']Father and daughter often team up on creative projects together. \u003cem>Artificial\u003c/em> documents the time Ray recruited Amy’s help on an ongoing invention, an AI chatbot project that feeds Fred’s memories (as collected in fragmented journals) into an algorithm with hopes of allowing his descendants to have real-time conversations with him. The “Dadbot” project prompts Amy Kurzweil to wrestle with the question of whether it is possible to know and feel connected to someone you’ve never met — in this case someone who has passed. In that way, as the title states, this is a love story. \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is the second graphic memoir from Kurzweil, who recently moved from New York to San Francisco with her husband. \u003ca href=\"https://books.catapult.co/books/flying-couch/\">\u003ci>Flying Couch\u003c/i>\u003c/a> (2016) examined three generations of women in her family: Kurzweil, her mother and grandmother. “Focusing on my family history helps me speak more universally,” Kurzweil explains. \u003c/p>\n\u003cp>Kurzweil’s desire to know her grandfather runs parallel to Ray’s desire to resurrect his father, though their dissimilar professions drive them to seek answers through very different means. Where Ray uses technology, Kurzweil turns to art and storytelling. As Kurzweil works on the chatbot alongside her father — not by nature an emotionally forthcoming man — her knowledge of him deepens. \u003c/p>\n\u003cfigure id=\"attachment_13936176\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg\" alt=\"White woman with brown hair in dark purple shirt leans against wooden wall\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13936176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist and author Amy Kurzweil. \u003ccite>(Amy Kurzweil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memoir charts both her quest for intimacy and her changing understanding of it. “Can I know Fred like I know a language?” Kurzweil asks in the memoir. “Like I know a book? Like I know a person?” She is interested in the depths of knowing, which also encompasses the limits of knowing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a telling panel, Kurzweil asks her father why he originally saved Fritz’s papers, whether he had intended on reviving him via an AI avatar all along. He responds that he simply viewed them as precious. “We are patterns of information: our skills, our personalities,” Ray explains. “You could see that negatively, like we’re \u003cem>just\u003c/em> information. Or you could see it positively, like, information is spiritual.”\u003c/p>\n\u003cp>The book is drawn entirely in black, white and gray, a preference Kurzweil says stems from her belief that “comics work with projection, and sometimes the less you give people, the more they can imagine.” \u003c/p>\n\u003cp>“Paradoxically,” she explains, “having a grayscale helps people view the world with more color in their minds.” \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is a product of rapt observation. This is clear in the thoroughness of each panel’s details. Kurzweil meticulously reproduces the books on her desk (Sherry Turkle’s \u003cem>Alone Together\u003c/em>, Alison Bechdel’s \u003cem>Fun Home\u003c/em>), the wide-set half-cursive of her grandfather’s handwritten letters and extracts from her husband’s copy of Plato’s Symposium, with both the text and his enthusiastic underlining and doodling reproduced. \u003c/p>\n\u003cp>[aside postID='arts_13914459']Cities too are rendered in personalizing detail. San Francisco, where her father also lives part time, is brought to life via the interior of the Powell Street BART station, the exteriors of Philz Coffee and Aardvark Books, the skyline seen from Dolores Park. Her illustrations suggest a worldview that sees life as information. \u003c/p>\n\u003cp>Like her father, Kurzweil thinks information is precious, but details also serve an objective. “I wanted to have these three different styles to code for these three different kinds of memory that I’m working with in the book,” she explains of the choice. “The realistic style codes for documents that I really have in my possession.” Fritz’s patient slips, correspondence with various colleges when he was seeking employment in New York and press clippings reviewing his symphony conducting — she reproduces all with rigorous precision, down to the font and faded stamps. \u003c/p>\n\u003cp>Kurzweil uses a “cartoonish grayscale” (glimpsed in \u003ca href=\"https://www.newyorker.com/contributors/amy-kurzweil\">her work for \u003cem>The New Yorker\u003c/em>\u003c/a>) when depicting her own memories. “That style is more minimal because I’m allowing the reader to imbue it with their own imagination, allowing them to animate the figures in their own mind and signaling that memory includes a lot of gaps,” she explains.\u003c/p>\n\u003cp>Kurzweil describes her third style as “high contrast black and white,” which is used to depict events and people she did not directly witness — like her grandfather’s time in Vienna, pieced together through his journals and marriage and academic records. The drawings are fabricated amalgams of real places and an imagined life. Conversations with a future, more seamless chatbot get the same treatment.\u003c/p>\n\u003cp>Each of the styles performs a taxonomic function, but the care of separating them, of acknowledging that “memory is more art than science,” as she writes, reveals something else. Kurzweil’s attentiveness is an act of devotion. \u003c/p>\n\u003cp>[aside postID='arts_13934119,arts_13928253']\u003cem>Artificial\u003c/em> is an art book about AI arriving at a time when \u003ca href=\"https://www.kqed.org/arts/13928253/ai-art-artificial-intelligence-student-artists-midjourney\">the two fields are in intense conflict\u003c/a>. Kurzweil admits AI is “a huge topic.” Some of its biggest detractors — artists and authors furious that their work is being used to train AI without their consent — are frustrated with the implications for their professions. \u003c/p>\n\u003cp>“The problems in AI are not just about AI,” Kurzweil notes, “They have to do with the way AI is being used to make money for some people and not for others. I certainly have a lot of critiques of that model for AI, but I don’t think that AI is one thing.” \u003c/p>\n\u003cp>Artificial invites readers to view AI as a potential bridge. “My book engages with an instance of AI that is more personal and intimate,” she says. It is her hope “that the book can be a positive instance of complex, interesting, inspiring technology that’s used in a direction that’s more human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Artificial: A Love Story’ is out Oct. 17, 2023. Amy Kurzweil will be on a \u003ca href=\"https://www.eventbrite.com/e/picturing-lives-new-graphic-memoirs-tickets-709752578067\">LitQuake panel\u003c/a> with Fred Noland, Thien Pham and Julia Wertz on Saturday, Oct. 14 at 12 p.m. at the San Francisco Public Library’s Koret Auditorium. Booksmith hosts \u003ca href=\"https://www.booksmith.com/event/amy-kurzweil\">a launch event\u003c/a> on Tuesday, Oct. 17 at 7 p.m. with Kurzweil and Daniel Gumbiner.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "’The New Yorker’ cartoonist seeks out a grandfather she never met while her father builds a chatbot version of him.",
"status": "publish",
"parent": 0,
"modified": 1769539623,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1150
},
"headData": {
"title": "Amy Kurzweil’s ‘Artificial’: A Graphic Memoir Meets an AI Chatbot | KQED",
"description": "’The New Yorker’ cartoonist seeks out a grandfather she never met while her father builds a chatbot version of him.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Amy Kurzweil’s ‘Artificial’: A Graphic Memoir Meets an AI Chatbot %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Amy Kurzweil Reaches Back in Time Through Graphic Memoir and AI Chatbot",
"datePublished": "2023-10-10T10:35:25-07:00",
"dateModified": "2026-01-27T10:47:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13935873/amy-kurzweil-artificial-graphic-memoir-ai",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Connection is simultaneously the text and subtext of \u003cem>New Yorker\u003c/em> cartoonist \u003ca href=\"https://amykurzweil.com/\">Amy Kurzweil\u003c/a>’s new graphic memoir, \u003cem>\u003ca href=\"https://books.catapult.co/books/artificial/\">Artificial: A Love Story\u003c/a>\u003c/em>, in which she writes, “to be loved is to be known.” The book is an exploration of her patrilineal line. Her father, futurist \u003ca href=\"https://www.thekurzweillibrary.com/\">Raymond Kurzweil\u003c/a>, is a solution-oriented inventor invested in overcoming mortality. His father, Fritz “Fred” Kurzweil, was a Jewish conductor and pianist who fled from Vienna to America in the 1930s. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930458,arts_13926136,arts_13925644",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Father and daughter often team up on creative projects together. \u003cem>Artificial\u003c/em> documents the time Ray recruited Amy’s help on an ongoing invention, an AI chatbot project that feeds Fred’s memories (as collected in fragmented journals) into an algorithm with hopes of allowing his descendants to have real-time conversations with him. The “Dadbot” project prompts Amy Kurzweil to wrestle with the question of whether it is possible to know and feel connected to someone you’ve never met — in this case someone who has passed. In that way, as the title states, this is a love story. \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is the second graphic memoir from Kurzweil, who recently moved from New York to San Francisco with her husband. \u003ca href=\"https://books.catapult.co/books/flying-couch/\">\u003ci>Flying Couch\u003c/i>\u003c/a> (2016) examined three generations of women in her family: Kurzweil, her mother and grandmother. “Focusing on my family history helps me speak more universally,” Kurzweil explains. \u003c/p>\n\u003cp>Kurzweil’s desire to know her grandfather runs parallel to Ray’s desire to resurrect his father, though their dissimilar professions drive them to seek answers through very different means. Where Ray uses technology, Kurzweil turns to art and storytelling. As Kurzweil works on the chatbot alongside her father — not by nature an emotionally forthcoming man — her knowledge of him deepens. \u003c/p>\n\u003cfigure id=\"attachment_13936176\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg\" alt=\"White woman with brown hair in dark purple shirt leans against wooden wall\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13936176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist and author Amy Kurzweil. \u003ccite>(Amy Kurzweil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memoir charts both her quest for intimacy and her changing understanding of it. “Can I know Fred like I know a language?” Kurzweil asks in the memoir. “Like I know a book? Like I know a person?” She is interested in the depths of knowing, which also encompasses the limits of knowing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a telling panel, Kurzweil asks her father why he originally saved Fritz’s papers, whether he had intended on reviving him via an AI avatar all along. He responds that he simply viewed them as precious. “We are patterns of information: our skills, our personalities,” Ray explains. “You could see that negatively, like we’re \u003cem>just\u003c/em> information. Or you could see it positively, like, information is spiritual.”\u003c/p>\n\u003cp>The book is drawn entirely in black, white and gray, a preference Kurzweil says stems from her belief that “comics work with projection, and sometimes the less you give people, the more they can imagine.” \u003c/p>\n\u003cp>“Paradoxically,” she explains, “having a grayscale helps people view the world with more color in their minds.” \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is a product of rapt observation. This is clear in the thoroughness of each panel’s details. Kurzweil meticulously reproduces the books on her desk (Sherry Turkle’s \u003cem>Alone Together\u003c/em>, Alison Bechdel’s \u003cem>Fun Home\u003c/em>), the wide-set half-cursive of her grandfather’s handwritten letters and extracts from her husband’s copy of Plato’s Symposium, with both the text and his enthusiastic underlining and doodling reproduced. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13914459",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Cities too are rendered in personalizing detail. San Francisco, where her father also lives part time, is brought to life via the interior of the Powell Street BART station, the exteriors of Philz Coffee and Aardvark Books, the skyline seen from Dolores Park. Her illustrations suggest a worldview that sees life as information. \u003c/p>\n\u003cp>Like her father, Kurzweil thinks information is precious, but details also serve an objective. “I wanted to have these three different styles to code for these three different kinds of memory that I’m working with in the book,” she explains of the choice. “The realistic style codes for documents that I really have in my possession.” Fritz’s patient slips, correspondence with various colleges when he was seeking employment in New York and press clippings reviewing his symphony conducting — she reproduces all with rigorous precision, down to the font and faded stamps. \u003c/p>\n\u003cp>Kurzweil uses a “cartoonish grayscale” (glimpsed in \u003ca href=\"https://www.newyorker.com/contributors/amy-kurzweil\">her work for \u003cem>The New Yorker\u003c/em>\u003c/a>) when depicting her own memories. “That style is more minimal because I’m allowing the reader to imbue it with their own imagination, allowing them to animate the figures in their own mind and signaling that memory includes a lot of gaps,” she explains.\u003c/p>\n\u003cp>Kurzweil describes her third style as “high contrast black and white,” which is used to depict events and people she did not directly witness — like her grandfather’s time in Vienna, pieced together through his journals and marriage and academic records. The drawings are fabricated amalgams of real places and an imagined life. Conversations with a future, more seamless chatbot get the same treatment.\u003c/p>\n\u003cp>Each of the styles performs a taxonomic function, but the care of separating them, of acknowledging that “memory is more art than science,” as she writes, reveals something else. Kurzweil’s attentiveness is an act of devotion. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13934119,arts_13928253",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Artificial\u003c/em> is an art book about AI arriving at a time when \u003ca href=\"https://www.kqed.org/arts/13928253/ai-art-artificial-intelligence-student-artists-midjourney\">the two fields are in intense conflict\u003c/a>. Kurzweil admits AI is “a huge topic.” Some of its biggest detractors — artists and authors furious that their work is being used to train AI without their consent — are frustrated with the implications for their professions. \u003c/p>\n\u003cp>“The problems in AI are not just about AI,” Kurzweil notes, “They have to do with the way AI is being used to make money for some people and not for others. I certainly have a lot of critiques of that model for AI, but I don’t think that AI is one thing.” \u003c/p>\n\u003cp>Artificial invites readers to view AI as a potential bridge. “My book engages with an instance of AI that is more personal and intimate,” she says. It is her hope “that the book can be a positive instance of complex, interesting, inspiring technology that’s used in a direction that’s more human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"auto, (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>\u003ci>‘Artificial: A Love Story’ is out Oct. 17, 2023. Amy Kurzweil will be on a \u003ca href=\"https://www.eventbrite.com/e/picturing-lives-new-graphic-memoirs-tickets-709752578067\">LitQuake panel\u003c/a> with Fred Noland, Thien Pham and Julia Wertz on Saturday, Oct. 14 at 12 p.m. at the San Francisco Public Library’s Koret Auditorium. Booksmith hosts \u003ca href=\"https://www.booksmith.com/event/amy-kurzweil\">a launch event\u003c/a> on Tuesday, Oct. 17 at 7 p.m. with Kurzweil and Daniel Gumbiner.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13935873/amy-kurzweil-artificial-graphic-memoir-ai",
"authors": [
"11990"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_70"
],
"tags": [
"arts_928",
"arts_1942",
"arts_10278",
"arts_769",
"arts_1935",
"arts_585"
],
"featImg": "arts_13936180",
"label": "arts_140"
},
"arts_13935857": {
"type": "posts",
"id": "arts_13935857",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13935857",
"score": null,
"sort": [
1696454361000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1696454361,
"format": "standard",
"title": "Check Out ‘The Royal Hotel’ But Don’t Linger in This Subtle Horror Flick",
"headTitle": "Check Out ‘The Royal Hotel’ But Don’t Linger in This Subtle Horror Flick | KQED",
"content": "\u003cp>\u003cem>The Royal Hotel\u003c/em> is a horror movie but don’t expect any jump-cuts, scary masks or serial killers. It’s more like the horror that dawns on a frog when it realizes it is being boiled alive.\u003c/p>\n\u003cp>Filmmaker Kitty Green tells a captivating tale of two young American female backpackers who find themselves tending bar for a few weeks in a very remote part of Australia.\u003c/p>\n\u003cp>[aside postid='arts_13935519']The bar is a dump ironically called “The Royal Hotel” and the clientele are rough, hard-drinking miners unfamiliar with the etiquette of Miss Manners or even just respectful interaction.\u003c/p>\n\u003cp>Our two heroines — Julia Garner from \u003cem>Ozark\u003c/em> and Jessica Henwick from \u003cem>Glass Onion: A Knives Out Mystery\u003c/em> — really should not be in this situation. They are the recipients of dirty jokes, drunken behavior, offensive nicknames and constant propositions. One client pays for his beer by passive-aggressively tossing coins at them.\u003c/p>\n\u003cp>“Wouldn’t hurt you to smile a bit?” they are asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Green, who directs with a screenplay she wrote with Oscar Redding, explores how women respond to a male-centered environment and how it can test their own friendship. The constant threat of violence hangs over this tale very uncomfortably, its wingman always being alcohol. Would-be heroes come and then show their true nature, slinking off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U9zq_4ED-pI\u003c/p>\n\u003cp>It is a subtle movie, with the growing accretion of indignities building slowly until one of the women blurts out: “I’m scared. I’m scared of this place. I’m scared of everyone and everything in this place.”\u003c/p>\n\u003cp>And yet, they stay.\u003c/p>\n\u003cp>The remoteness of the bar — a bus is always several days away — helps explain some of the stasis, but the two women have the very human tendency to settle: They make excuses, they blame themselves, they point to cultural misunderstandings and another day begins.\u003c/p>\n\u003cp>[aside postid='arts_13897161']Hugo Weaving plays the bar owner, the arbiter of what is correct (mis)behavior. But the moral center is played by Ursula Yovich, who speaks truth to power and when she leaves, allows chaos to fully enter.\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> has a pessimistic — OK, accurate — view of gender relations. The two sides simply don’t understand each other — “I can’t hear you,” says one of the women early on to a would-be suitor — and attempts at conversation are so often drowned out by noise. It asks how you can rationalize ending up mopping up puke in a dive bar in rural Down Under.\u003c/p>\n\u003cp>The movie perfectly starts with a dark remix of Men at Work’s “Down Under.” Remember the lyrics: “Buying bread from a man in Brussels/ He was 6-foot-4 and full of muscle/ I said, ‘Do you speak my language?’ He just smiled and gave me a Vegemite sandwich.”\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> shares a vibe with Alex Garland’s sophisticated horror film \u003cem>Men\u003c/em> — an arty indictment of toxic masculinity that often felt like a lecture. But Green’s film doesn’t feel like that. The final scene will make you cheer, even if the ultimate message is murky.\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>‘The Royal Hotel’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 569,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705535837,
"excerpt": "Two American girls find themselves in a remote part of Australia tending bar. But can they survive the patrons?",
"headData": {
"twImgId": "",
"twTitle": "Check Out ‘The Royal Hotel’ But Don’t linger in This Subtle Horror Flick",
"socialTitle": "‘The Royal Hotel’ Review: No Jump Scares, Just Creeps for Days %%page%% %%sep%% KQED",
"ogTitle": "Check Out ‘The Royal Hotel’ But Don’t linger in This Subtle Horror Flick",
"ogImgId": "",
"twDescription": "",
"description": "Two American girls find themselves in a remote part of Australia tending bar. But can they survive the patrons?",
"title": "‘The Royal Hotel’ Review: No Jump Scares, Just Creeps for Days | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Check Out ‘The Royal Hotel’ But Don’t Linger in This Subtle Horror Flick",
"datePublished": "2023-10-04T14:19:21-07:00",
"dateModified": "2024-01-17T15:57:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-royal-hotel-review-gender-dynamics-horror-thriller-julia-garner",
"status": "publish",
"templateType": "standard",
"nprByline": "Mark Kennedy, The Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13935857/the-royal-hotel-review-gender-dynamics-horror-thriller-julia-garner",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Royal Hotel\u003c/em> is a horror movie but don’t expect any jump-cuts, scary masks or serial killers. It’s more like the horror that dawns on a frog when it realizes it is being boiled alive.\u003c/p>\n\u003cp>Filmmaker Kitty Green tells a captivating tale of two young American female backpackers who find themselves tending bar for a few weeks in a very remote part of Australia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935519",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The bar is a dump ironically called “The Royal Hotel” and the clientele are rough, hard-drinking miners unfamiliar with the etiquette of Miss Manners or even just respectful interaction.\u003c/p>\n\u003cp>Our two heroines — Julia Garner from \u003cem>Ozark\u003c/em> and Jessica Henwick from \u003cem>Glass Onion: A Knives Out Mystery\u003c/em> — really should not be in this situation. They are the recipients of dirty jokes, drunken behavior, offensive nicknames and constant propositions. One client pays for his beer by passive-aggressively tossing coins at them.\u003c/p>\n\u003cp>“Wouldn’t hurt you to smile a bit?” they are asked.\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>Green, who directs with a screenplay she wrote with Oscar Redding, explores how women respond to a male-centered environment and how it can test their own friendship. The constant threat of violence hangs over this tale very uncomfortably, its wingman always being alcohol. Would-be heroes come and then show their true nature, slinking off.\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/U9zq_4ED-pI'\n title='//www.youtube.com/embed/U9zq_4ED-pI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is a subtle movie, with the growing accretion of indignities building slowly until one of the women blurts out: “I’m scared. I’m scared of this place. I’m scared of everyone and everything in this place.”\u003c/p>\n\u003cp>And yet, they stay.\u003c/p>\n\u003cp>The remoteness of the bar — a bus is always several days away — helps explain some of the stasis, but the two women have the very human tendency to settle: They make excuses, they blame themselves, they point to cultural misunderstandings and another day begins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13897161",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hugo Weaving plays the bar owner, the arbiter of what is correct (mis)behavior. But the moral center is played by Ursula Yovich, who speaks truth to power and when she leaves, allows chaos to fully enter.\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> has a pessimistic — OK, accurate — view of gender relations. The two sides simply don’t understand each other — “I can’t hear you,” says one of the women early on to a would-be suitor — and attempts at conversation are so often drowned out by noise. It asks how you can rationalize ending up mopping up puke in a dive bar in rural Down Under.\u003c/p>\n\u003cp>The movie perfectly starts with a dark remix of Men at Work’s “Down Under.” Remember the lyrics: “Buying bread from a man in Brussels/ He was 6-foot-4 and full of muscle/ I said, ‘Do you speak my language?’ He just smiled and gave me a Vegemite sandwich.”\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> shares a vibe with Alex Garland’s sophisticated horror film \u003cem>Men\u003c/em> — an arty indictment of toxic masculinity that often felt like a lecture. But Green’s film doesn’t feel like that. The final scene will make you cheer, even if the ultimate message is murky.\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>‘The Royal Hotel’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13935857/the-royal-hotel-review-gender-dynamics-horror-thriller-julia-garner",
"authors": [
"byline_arts_13935857"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5087",
"arts_769",
"arts_585"
],
"featImg": "arts_13935860",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=review": {
"isFetching": false,
"latestQuery": {
"from": 528,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_13939435",
"arts_13938158",
"arts_13938155",
"arts_13937668",
"arts_13937140",
"arts_13933946",
"arts_13936714",
"arts_13936637",
"arts_13936269",
"arts_13936204",
"arts_13935873",
"arts_13935857"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_review": {
"isLoading": true
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_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_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_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_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_925": {
"type": "terms",
"id": "arts_925",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "925",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 943,
"slug": "pop",
"isLoading": false,
"link": "/arts/tag/pop"
},
"arts_8404": {
"type": "terms",
"id": "arts_8404",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8404",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Showtime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Showtime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8416,
"slug": "showtime",
"isLoading": false,
"link": "/arts/tag/showtime"
},
"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_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_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_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_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"arts_1206": {
"type": "terms",
"id": "arts_1206",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1206",
"found": true
},
"relationships": {},
"featImg": null,
"name": "halloween",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "halloween Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1218,
"slug": "halloween",
"isLoading": false,
"link": "/arts/tag/halloween"
},
"arts_13540": {
"type": "terms",
"id": "arts_13540",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13540",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hauntings",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hauntings Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13552,
"slug": "hauntings",
"isLoading": false,
"link": "/arts/tag/hauntings"
},
"arts_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_2227": {
"type": "terms",
"id": "arts_2227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2227",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BAMPFA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BAMPFA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2239,
"slug": "bampfa",
"isLoading": false,
"link": "/arts/tag/bampfa"
},
"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_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_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
},
"arts_1020": {
"type": "terms",
"id": "arts_1020",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1020",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tenderloin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tenderloin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1037,
"slug": "tenderloin",
"isLoading": false,
"link": "/arts/tag/tenderloin"
},
"arts_5066": {
"type": "terms",
"id": "arts_5066",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5066",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tenderloin Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tenderloin Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5078,
"slug": "tenderloin-museum",
"isLoading": false,
"link": "/arts/tag/tenderloin-museum"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_1942": {
"type": "terms",
"id": "arts_1942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1954,
"slug": "comics",
"isLoading": false,
"link": "/arts/tag/comics"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
}
},
"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": {}
}
}
}